The Meaning Of Culture

THE LIFE & LETTERS
SERIES, VOLUME 33

THE MEANING
OF CULTURE

fr

5 The Life and Letters Series is a selection
of non-fiction books previously pub¬
lished at a higher price and now re¬
issued in a uniform format and at a
Uniform price

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THE LIFE AND LETTERS SERIES NO. 33

JOHN' COWPER POWYS

Author of Wolf Solent

THE MEANING OF
CULTURE

London - JONATHAN CAPE

Toronto

First published 1930
Second impression 1930
Re-issued in

The Life and Letters Series
1932

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CONTENTS

PAGE

INTRODUCTION 9

PREFACE , 11

PartI: ANALYSIS OF CULTURE

CHAPTER

I. CULTURE AND PHILOSOPHY 15

II. CULTURE AND LITERATURE 34

IH. CULTURE AND POETRY 58

IV. CULTURE AND PAINTING 74

V. CULTURE AND RELIGION 94

Part II: APPLICATION OF CULTURE

VI. CULTURE AND HAPPINESS 1 27

VH. OBSTACLES TO CULTURE 145

VHI. CULTURE AND| LOVE 1 58

IX. CULTURE AND NATURE 174

X. CULTURE AND THE ART OF READING 217

XI. CULTURE AND HUMAN RELATIONS 260

XU. CULTURE AND DESTINY 29 1

AFFECTIONATELY DEDICATED TO

WARWICK G. POWYS

INTRODUCTION

It will quickly become clear to readers of this volume
that it was written by an Englishman domiciled in the
United States. This qualifying and conditioning
fact does not, however, affect to any appreciable
degree the general trend of the discussion. The
nature of this evasive thing that has come to be known
as ‘culture’ must, the writer feels, be pretty much
the same from China to Peru; and while certain
social, psychological, and economic conditions render
its attainment more difficult in many particulars in a
young civilization, it can hardly be denied that other
conditions, no less powerful, handicap its harmonious
growth in the countries of the old world. The aim of
this book is to narrow down a vague and somewhat
evasive conception, which hitherto, like ‘aristocracy’
or ‘liberty,’ has come to imply a number of contra¬
dictory and even paradoxical elements, and to give
it, not, of course, a purely logical form, but a concrete,
particular, recognizable form, malleable and yielding
enough and relative enough, but with a definite and
quite unambiguous temper, tone, quality, atmosphere,
of its own. The book may be regarded as a calculated
and guarded offset to many disintegrating tendencies
of our day, tendencies which seem naturally to follow
from that commercially orientated life of which the

9

THE MEANING OF CULTURE

psychic temper of the United States is, so to speak,
the advancing wedge.

Discerning readers will discover in it an attempt to
integrate the traditional ‘quietism* of a long line of
mystics with a certain stoical hardening, a certain
aesthetic and moral ascesis , in the presence of so
much modern confusion and distraction.

It seemed to the writer that the fine word ‘culture/
in spite of its having acquired so many priggish and
even ludicrous associations, might lend itself to an
easy, humane and liberal discussion — a sort of ‘one-
man* Platonic symposium — and even turn out to
contain, among its various implications, no unworthy
clue to the narrow path of the wise life upon earth.
To a man stricken with a mortal disease the mere
pleasure ‘which there is in life itself becomes some¬
times indescribably heightened. In the same way to
an exile from the sensuous and imaginative contacts
of his own country there may occur a natural intensi¬
fication of these advantages, which, if he could express
it in words, might at least be a warning to his luckier
fellows not to take so much of their good fortune for
granted! In this age of the collapse into wind-blown
confusion of so many religious and moral unifications
any tentative essay in mental reconstruction, if it be
passably clear-cut and yet flexible, deserves the con¬
sideration of the judicious.

Such consideration, taken with as large a pinch of
Attic salt as 'the individual may think proper, is all
that the writer asks. j.c.p.

io

PREFACE

It is perhaps unwise to attempt any single dogmatic
definition of culture; but by approaching the subject
first from one angle and then from another it seems as
though in a gradual process of elimination and selection
a general attitude of mind to this complicated subject
may emerge, which being at once more fluid and more
comprehensive than any rigid statement, may bring
the problem into regions of concrete experience such
as would be impossible of attainment even by the most
carefully worded theory.

One rather felicitous definition runs as follows -
‘Culture is what is left over after you have forgotten
all you have definitely set out to learn’ - and in this
sally you get at least a useful warning against associat¬
ing culture too closely with the academic paraphernalia
of education. ~

IV

PART I

ANALYSIS OF CULTURE

CHAPTER I

CULTURE AND
PHILOSOPHY

The long personal pilgrimage of culture begins with
the formulation of one’s own philosophy and ends, if
I am not mistaken, with an attempt to express this
philosophy in such a form and to such a purpose that
it may definitely influence, even if only to an infinit¬
esimal degree, the life of the nation to which we belong.
Between these two extremes we have to examine, as
warily as we may, what culture actually is; and then,
again, what it will cost us, in concentration and
organized effort, to practise it amid the pell-mell of
life.

In considering those obscure motions of the mind,
wherein our individual consciousness, ceasing to be
content with blind responses to its environment,
begins to look before and after, it is important to
remember that behind all the great controversial
names, such as ‘will,’ ‘behaviour,’ ‘soul,’ ‘first cause,’
‘the one, the many,’ ‘universe,’ ‘multiverse,’ ‘good
and evil,’ ‘substance,’ ‘essence,’ ‘immortality,’ there
lies some actual feeling or sensation or experience;
which, under a quite different name, or perhaps under
no name at all, must still exist, when the logical fashion

THE MEANING OF CULTURE

of the hour, refusing to use such traditional expressions,
has moved on and away.

In attempting to deal with the living emotions, with
those nameless subjective feelings which underlie such
historic words, it seems wiser to direct the introspective
mind towards each particular feeling rather by means
of the older symbols than by means of the newer ones,
just because these traditional names — ‘will/ ‘souls,’
‘universe,’ ‘nature,’ ‘ego,’ and so forth - have by long
use on the highroads of human intercourse acquired
such a rich, thick, emotional connotation that, however
mythological they may be, they are more suggestive
of what lies behind all words than the newer, more
logical terms, coined by clever modern thinkers, so
puzzlingly obscure except to the initiated, and of
necessity so abstract and thin.

The art of self-culture begins with a deeper aware¬
ness, borne in upon us either by some sharp emotional
shock or little by little like an insidious rarefied air,
of the marvel of our being alive at all; alive in a world
as startling and mysterious, as lovely and horrible,
as the one we live in. Self-culture without some kind
of integrated habitual manner of thinking is apt to
fail us just when it is wanted most. To be a cultured
person is to be a person with some kind of original
philosophy. And thus the difficult problem arises — ,
how is this philosophy to be developed?

It is clear that there must be a will to philosophize at
the very start. This implies a desire to focus such
imaginative reason as we possess upon the mystery of

16

CULTURE AND PHILOSOPHY

life. The subtle and imperceptible stages, however,
by which this will to think condenses and hardens
into a will to live according to one’s thought are n^
always easy to articulate. *

Our innermost self, as we grow more and more
conscious of it, surprises us again and again by new
explosions of feeling drawn from emotional, nervous,
and even chemical reactions; but for all its surreptitious
dependence on these impulses, its inner report upon
its own nature is that it is a clear, hard, enclosed,
secretive nucleus with a detached and independent
existence of its own. Our reliance upon this intro¬
spective report may easily be shaken by logical
argument; but it is not often that any argument,
however plausible, disposes of the feeling of this interior
identity, of the feeling of this integral ‘I am I,’ under¬
lying the stream of our impressions. The truth is that
every man and every woman has, consciously or
unconsciously, some sort of patched-up, thrown-
together philosophy of life, a concretion of accumulated
reactions gathered round this nucleus of personality.
What, however, denotes the cultured person is the
conscious banking up of this philosophy of his own,
its protection from disintegrating elements, the guiding
of its channel-bed through jungles of brutality and
stupidity.

The more culture a man has, the more austerely —
though naturally with many ironic reserves — does he
abide by his own taste. It is ever the mark of the
parvenu in education to chafe and fret till his opinions

17

THE MEANING OF CULTURE

correspond to the last word of modish sophistication.
Culture, however, like aristocracy, goes its own way
and does not bother about justifying itself. Why
should it justify itself? Thus, in real culture, scope is
allowed for the most extreme idiosyncrasies of philo¬
sophical opinion. Half-educated people permit their
personal vision to be interfered with, to be smoothed
out and flattened out, by a slavish respect for modern
science or by a conventional respect for traditional
religion. The cultured person takes both these dog¬
matic authorities with a considerable pinch of salt.
S cience j s not everything - nor is religion! The last
m>rd is witiraTcerfaih free poetic humanism that uses
both science and religion for its own purposes and is
not dominated by either. An educated person can
glibly describe what he wishes you to regard as his lastf
ready-made philosophy. A cultured person often findsi
it very difficult to explain what his philosophy is; but
when he does manage to articulate it you feel that this
is what he has secretly and profoundly lived by for
many a long year. For in a cultured person’s life
intellectual snobbishness has ceased to exist. He is not i
interested in the question whether his attitude is
‘intellectual’ according to the current fashion or not.
He might even be guilty of a certain malicious satis¬
faction when it appears so completely out of fashion as
to seem naive and simple to the point of imbecility.
Real culture has almost always a certain tendency to
combine infinite subtlety with a kind of childish
na'ivetl. Thus to the smartly clever it must often appear

18

CULTURE AND PHILOSOPHY

both affected and foolish. What a perpetual stumbling-
block, for instance, is the cultured person’s innate
predilection for combining extreme opposites in hi%
thought and his taste! His philosophical opinions will
be found as a rule, judged by the standards of the
merely educated, to be at once startlingly revolutionary
and startlingly reactionary. Thus Mr. Wells, valuable
and sincere thinker though he is, will never quite
satisfy a cultured taste because he is neither revolu¬
tionary enough nor reactionary enough. One always
feels that a merely educated man holds his philoso¬
phical views as if they were so many pennies in his
pocket. They are separate from his life. Whereas
with a cultured man there is no gap or lacuna be¬
tween his opinions and his life. Both are dominated
by the same organic, inevitable fatality. They are
what he is.

It is often an astonishment to the erudite Philistine
how ignorant a really cultured individual can prove to
be. The truth is that a man’s ignorance is as much a
part of the instinctive art of his life as any learning he
may acquire. Both are the expression of his psychic
fatality; both are calculated, both habitual.

By what tenuous and filmy degrees the first outlines
of a man’s original philosophy precipitate themselves
on the retina of his vision, like frost-marks upon a
window, hardly the man himself can determine. As
when a new light falls unexpectedly upon familiar
things, he suddenly becomes aware of a certain pattern,
a certain tone, a certain peculiar emphasis in his life’s

19

THE MEANING OF CULTURE

scenery which seems to satisfy at once both his good
and his evil eye. What he sees seems ordered and
beautiful in a particular way, disordered and repulsive
in a particular way. He has now his own optimism, his
own pessimism. The world lends itself to his inter¬
preting imagination; lends itself to his penetrating
malice.

That this personal philosophy already exists before it
is brought into conscious articulation cannot be
doubted; nor can it be doubted that a thousand floating
straws of human speculation, caught at random on
wandering airs from the great philosophical systems,
have helped to give it form, or at least to make its
form visible to its possessor. It is indeed the countless
broken shells and the thin black line of the sea’s
windrow that outline for us the tide’s water-mark.
When a man is destined to become what we have
agreed to name ‘cultured’ it is not long before the
tide-mark of his philosophy is outlined for us by his
stray and casual words. His philosophy? Call it hi^
life-vision or his life-illusion; for these are funda-J
mentally the same thing. Slowly, as life tightens the
knot of our inner being, our outer leaves, like those
of a floating water-plant, expand in the sunshine and
in the rain of pure chance; but we still are aware of the
single stalk under the surface, of the single root that
gives meaning to all.

Since we are men and women, however, there soon
arrives a moment when our philosophy loses its plant¬
like passivity. Grown now into a conscious system of

20

CULTURE AND PHILOSOPHY

thought it draws from the flowing saps and vegetative
essences of its organic sub-life an active integral
consciousness which feeds upon the spectacle of the
world. It projects sensitized antennae, this conscious¬
ness; it thrusts forth a moth-like tongue. It selects,
refuses, advances and recoils before what confronts it.
And yet the further it explores . . . and that is the
whole secret of the mysterious process . . . the more
does its awareness of its buried life become vivid and
paramount. It is perhaps the most important moment
of all in the secret growth of our philosophy when we
first discover the unbelievable power of the imaginative
will in giving a heightened value to our days.

One has to be crafty enough not to be led astray
by any trick of verbal logic, however cogent, which
questions the efficacy of this imaginative will. Even if
our rational view of it were erroneous there would seem
to remain something which corresponds to the interior
feeling that we have; and that, after all, is tantamount
to the same thing.

To philosophize with the real wisdom of the serpent
and the real harmlessness of the dove it is not necessary
to exhaust one’s brain upon riddles which are likely
enough eternally insoluble. What is necessary, is to
experiment with ordinary life; to adjust one’s appre¬
ciative and analytical powers to all the natural human
sensations which are evoked by the recurrences of the
seasons, by birth and death, by good and evil, by all
those little diurnal happenings which make up our
life upon earth.

21

THE MEANING OF CULTURE

Too well one knows how the pure reflections of
these essences can be destroyed ... as when a stone
is flung into smooth water ... by any violent gesture
or drastic action. Too well one knows how they can be
destroyed by the fret and fever of the world. To isolate
them, as they form and re-form in the calm-flowing
stream of the deeper reality, to contemplate them, to
assimilate them, as they pass, this is the true philoso¬
phical art.

The disciples of the ancient Greek philosophers were
better taught to cope with the chaos of reality than are
most of our educated people. A cultured man is not
one who turns from a disorganized feverish day to a
nightly orgy with Hegel or Bergson. He is rather one
for whom the diurnal magic-mirror, whether its
fleeting images catch the sun or sink into shadow,
offers a vision of the world that becomes steadily
more and more his own. To philosophize is not to
read philosophy; it is to feel philosophy. The raw
spikes and jagged edges, the sour-tasting dust and
wind-blown debris of superficial real life have to be
deliberately comprehended, or at least deliberately
evaded, before the more secret rhythms, the more
recondite patterns of Nature, her humours, her
tragedies, her poetry, take shape in the mind. None
can call himself a philosopher whose own days are not
made more intense and dramatic by his philosophizing.
Even if his vision of things be bitter and grim, his
world is made more interesting by his pondering upon
it, not more commonplace or tedious. This heightened

2a

CULTURE AND PHILOSOPHY

continuity, when a person’s days are charged with
conscious impressions, is always being banked up by
accumulated memories. These the conscious psyche
reduces to what one might call a secondary world.
For by selecting, refining, sifting and analysing these
memories and by assimilating them to her own fatality
of intellect, she half-creates and half-discovers a
particular universe that is entirely her own. This is the
highest pitch of the art of philosophizing: when the
ego has so adapted itself to the mystery it contemplates
and has so slyly adapted that mystery to itself, that it
is no longer possible for it to suffer the raking, scraping,
scooping, and harrowing misery which maladjustment
to the chaos of superficial reality produces in human
nerves.

For although this slowly evolved vision of things,
which is a man’s very own, is concerned with what
might be called ‘life in itself,’ apart from practical
affairs, it must be remembered that this life in itself is
not passively reflected, but is something that has been
half-created, as well as half-discovered, by the creative
mind. Thus it is impossible to eliminate what is
popularly known as the will from any ultimate philo¬
sophizing. But it must be noted that in this region
where philosophy is a part of the psyche’s very life,
such will is not used in the sense of a will to believe
but in the sense of a will to select and a will to reject.

The particular continuity of our deepest life . . .
its accumulative weight of gathered impressions . . •
is constantly being made more formidable in the face

*3

THE MEANING OF CULTURE

of the brutality and the rawness of things by this
exercise of our will. Our receptivity flows with an
ever-increasing momentum along the channel that the
will has obstinately dug to receive it.

Our philosophy does not, when it is formulated
after this fashion, test its truth by our power over
others or over material events. It tests its truth by a
certain secret and stoical exultation known only to
ourselves. Such a philosophy could be practised in
fact by a person dying of cancer; or by a madman, in
his few lucid moments, in a barred room. What
philosophy can do for a deep organic personal culture
is concerned with contemplation, with the attitude
adopted by the psyche to its environment, and not
with any sort of external happening.

Having granted then that the true way of philo¬
sophizing is to use our will upon the images, static or
fleeting, which surround us; until by the help of
memory and habit we acquire the art of moulding the
chaos of superficial reality into what we can deliber¬
ately concentrate upon or deliberately forget, the
natural question arises, what is our attitude likely to
be towards the last residual mystery we can imagine,
the mystery behind all these fleeting impressions and
floating images, behind the universe itself?

Unless the psyche within us - and this is not
impossible — be its own God, its own Eternal, its own
Absolute, there must be some object, knowable or
unknowable, which remains its ultimate cause, sub¬
stratum, or demiurgic begetter; something that is, in

*4

CULTURE AND PHILOSOPHY

fact, responsible for there being a universe at all or a
consciousness to contemplate that universe. Even if
the consciousness were its own God and a secret-
sharer, beyond conception, in the magic that builds
the world, it would still be aware, however extravagant
its pride, of levels of creative energy totally beyond its
reach. Such levels would represent the ultimate
mystery I am referring to, this remote ‘Unmoved
First-mover.’ Whether this unknown be regarded as
one or many, as conscious or unconscious, the psyche
retains a place for it among her normal feelings that
it alone can fill.

And it would appear that in the lovely-ghastly world,
which, in the fatality of our nature, we are all of us
half-creating and half-discovering, it is a grim relief
and a stoical comfort to concentrate our mind upon
this unknown, the fountain, whether consciously or
unconsciously of all responsibility.

It would indeed seem that all deep culture must
supply itself with some constantly recurrent substitute
for what traditionally is known as prayer; and, for the
philosophic mind, nothing can serve this purpose but
a lonely, wordless, one-sided dialogue with the mystery
of mysteries. When one further enquires, in this dim
region of intellectual being, what kind of emotions
they will be with which this naked and stripped con¬
sciousness contemplates this ultimate, the answer is:
with intense gratitude and intense defiance! Thus
alone, in this way and in no other way, can the feelings
excited by the subjective-objective spectacle of life,

25

THE MEANING OF CULTURE

in all its appalling contrasts, find their apogee of
satisfaction.

We are aware of aspects of our world which are too
hideous to dwell upon, which can only be borne, so to
speak, by being daily forgotten. Under the burden
of having to forget these cosmogonic atrocities, the
naked and lonely psyche satisfies her nature by a
secret protest. In the solitariness of her dialogue with
the Infinite she hesitates not ‘to return to It its ticket.*
On the other hand to what else, finally and instinctively,
can the ego look, when in the sudden overbrimming
of its cup of happiness, it desires to offer up its un¬
utterable thanks? Thus the dilemma of the seifs
secret dialogue with that which lies behind its world
must remain for ever unresolved; divided between the
horn of its everlasting gratitude and the horn of its
everlasting defiance.

But it matters not so much what the emotional
content may be of the psyche’s dialogue with the final
mystery; what matters is that in the depths of a person’s
culture there should be some sort of grim, stark,
bed-rock philosophizing. It is this basic grimness and
starkness that gives to any worthy culture the iron it
needs, the formidableness it needs, if it is going to
remain undazzled by the brutally glittering surface,
undeafencd by the brazen voices.

That tender compromise called resignation is only
an eloquent name for the dying down, the wearing
thin, of the vital impulse in us. It is just here that it
would seem of the utmost importance, for occidental

26

CULTURE AND PHILOSOPHY

minds, to shake off the sad, self-satisfied metaphysic
of the Orient where such weary resignation, patro¬
nizingly contemptuous of what it regards as the
mad illusions of youth, prides itself on its irrefu¬
table wisdom. Far nearer to Nature’s secret would
seem to be an attempt to get the two spontaneous
reactions, of gratitude to Life and of defiance of Life,
fused in some way in our solitary contemplations.
Thus a return would be initiated to that Homeric
simplicity of response, where what is called philosophy
cannot be separated from what is called poetry;
where the instinctive life-impulse, brimming up from
the fathomless reservoirs of Nature, is not poisoned
at its source by the tricky perversities of logic; and
where finally that stoical imagination which springs
from the deepest levels of our being utters the last
word.

It is most salutary for our personal culture when, in
these ‘dialogues with mystery,’ we are compelled to
recognize the one-sided and unsatisfactory nature of
every rational explanation of the world-riddle. It is
just here that the uncultured but educated man finds
himself irritated, bewildered, nonplussed, by the
-sophisticated childishness which exists in the heart of
true culture. For it would appear that no scepticism
has gone far enough till it has reached the point where
almost any magical interpretation of the universe seems
truer than almost any scientific one. The permanent
mental attitude which the sensitive intelligence derives
from philosophy is an attitude that combines extreme

*7

THE MEANING OF CULTURE

rfeverence with limitless scepticism; and the result of
jthis is that the temper of true culture will be found
to be much more akin to the immemorial superstitions
'of the human race than to the dogmatic arrogance of
the last mechanistic theory.

To sum up the argument once more: since the
conscious development of our awareness of existence
is the very essence of culture, it is necessary to acquire
the habit of falling back in our thoughts upon the
basic human situation. This situation must be realized
in such a way as to be utterly unshakable by any kind
of rational doubt. To assure ourselves that no doubt
can touch it and that when we sink down upon it We
are at the unassailable heart of things, it is necessary
to clear our mind of every preconception, whether
philosophical or religious. Thus in our lonely com¬
munion with the cause of our being there will be ho
place for optimism or for pessimism. Our personality
will simply strip itself bare and will commune with
this ultimate power in a concentrated, if one-sided,^
dialogue. It will feel both gratitude and indignation^
not only for itself but for all other sentiencies that are
aware of happiness and of unhappiness. Such will be
its natural feelings; and such feelings would be the
same whether it had lived through a thousand incarna¬
tions and were destined for as many more, or whether
it had been brought to birth out of non-existence and
were destined at death to return whence it came.
The next rung, so to speak, in the philosophical
ladder, is the recognition by the psyche of its own

28

CULTURE AND PHILOSOPHY

depths and its own powers. It passes in fact from its
colloquy with the mysterious first cause to a searching
conversation with itself. Isolated in its inviolable
solitude it finds within itself potencies of will and
degrees of magnetic force such as it cannot measure
or fathom.

Among these forces is the power to regulate thought
by the use of thought; in other words, to choose what
thoughts shall be indulged in and what shall be dis¬
missed. The^discovery that the mind can regulate its
thoughts, fostering some aiidTciismissing others, is one
of themiost important stages iji tfie art of self-culture.
It is astonishing to note how little tHTs art is practised
among us Westerners. Indeed where our art of culture
ought to begin is by taking those concentrated habits
of mind which the Orient devotes to mysticism and
applying them to the rational and imaginative life.

Nowhere is real culture more easily distinguishable
from pedantry and Philistinism than in its attitude to
the great metaphysical systems. The pedant’s point
of view is the strictly explanatory one. What in every
least detail were the opinions of Aristotle, of Hegel,
of Spinoza? As to the living application of these
doctrines to his own stream of consciousness — that is
another matter. The typical Philistine, on the con¬
trary, labours under the illusion that all these early
systems are steps forward in a steady line of progress.
Philosophy, to the Philistine, is an evolutionary pro¬
cess, watched over by some sort of brisk dynamic
Providence, and culminating in the supreme insight

29

THE MEANING OF CULTURE

of modern thought. This is far worse than any scholarly
pedantry; and it is unfortunate for the simpler intellects
of our generation that so many clever expositors of
modern ideas take such banalities for granted.

What then, when we resolve to advance with a wary
step in this delicate affair, is the wiser and more fruitful
way of approach? Is it not to treat each one of these
great philosophic systems as if it were contemporary
with ourselves? Is it not to recognize them as all
equally true; but, like poetry and painting, represent¬
ing this truth through endless variations of imaginative
reason?

It is not very difficult for a malicious psychologist
to track down the emotional self-scourging, the furtive
cruelty, the secret pride, the serpentine will to power,
in these philosophical systems. But what vistas of
mystical sensation, what luminous mental landscapes,
what avenues of planetary reverie are opened up when
one follows these voyagers through the voidl

The sort of continuous life-awareness that I have
been endeavouring to disentangle from the more
vivid shocks of experience is surely the best back¬
ground for a genuine use of these massive systems of
thought. How provocative, for example, is the great
difficult Platonic doctrine of the ‘ideas/ those myster¬
ious godlike entities that overshadow ‘the good, the
true and the beautifur with hints, glimpses and over¬
tones of some unutterable Absolute. What an escape
from the endless teasing antinomies of life offers itself
in the magic Triads of Hegel; wherein we suddenly

30

CULTURE AND PHILOSOPHY

discover that the very fatality of our own thought
processes, the contemplation of contemplation, is the
Absolute; and the teeming concretions of Nature only
the same thing on its spiral way to fulfilling the divine
circle!

None of these great philosophical visions are ade¬
quately appropriated to our use until our aesthetic
sense and our imaginative power have laid hold upon
them. They are not a part of our culture till we have
enjoyed them like bodily feelings, until they have
associated themselves with what we daily see and touch
of earth and air and sky and the chance groupings of
people and things, under the fluctuating lights and
shadows of intermittent recognition. What a planetary
sensation, for example, dark, rank and sweet as a hidden
vice, flows through our nerves when we first apprehend
the formidable conception of Schopenhauer’s ‘Absolute
Will,’ driving us forward on its heaving universal tide,
until we escape its obsession by pure aesthetic con¬
templation or by a purer renunciation! What a world-
drama of spiritual tension summons us to shake the
dust of the market-place from our feet as we vision
the ice-cold heights touched by the ‘eternal noon’ of
Nietzsche’s Zarathustra! How exciting, in their sly,
caressing feminine-feline logic, are the iridescent
arguments by which Bergson leads us to substitute
for Reason itself some incredible process of intuitive
under-life!

All these visions of the unsolved mystery are equally
true. They resemble the pictures of the great artists.

3 *

THE MEANING OF CULTURE

We see life under their spell as Velazquez sees it
under his, and then as El Greco sees it, or Rembrandt
or Picasso. The mind of him who is bent upon making
a living use of philosophy soon discovers how unwise
it is to see the world through any other windows save
those which he has polished and stained for himself.
But the colours in these windows of his can be most
cunningly mingled; a little green from Plato, a little
yellow from Hegel, a little scarlet from Nietzsche.
And when we stand back a few paces from our
philosophic aperture or pass it with a hurried glance,
how beautifully such colours fuse and blend — merging
soon enough, however, into that dominant life-tint
of our own deepest intellectual fatality!

• The value of philosophy to any organic culture is
khat it thickens and enriches our universe of vision.
Incidentally a little metaphysical reading saves us, as
nothing else can, from that slavish adherence to popular
scientific catchwords which is so barbarous a fault in
many clever moderns. It is not so much that we come
to accept any definite theory of the universe from our
metaphysical studies. It is that we acquire a shrewd
inkling of the amount of Attic salt with which all
fashionable scientific theories should be liberally
sprinkled. We learn how not to be swept off our feet
by any new logic of a Russell or a Whitehead, by any
new generalization of psychoanalyst or behaviourist.
In fact the great gift of metaphysical reading is that
it gives a person the feeling that there is some truth
in every vision, all truth in none.

3 *

CULTURE AND PHILOSOPHY

We learn further, as our culturejta^ lo-

sophyjnto closer and closer touch, with life, that the
truth of each great systemdifcs in its generaTatmosphere
rather than in any unanswerable train of argument.
fNo man, however learned, can be called a cultured
jman while there remains an unbridged gap between
this reading and his life. It is for this reason that the
deliberate tone of character evoked by the old stoics
is a nobler and truer philosophic temper than any
rationalized realism or idealism such as leaves the
will undisciplined and the imagination undeveloped.

A philosophy of one’s own, grown tough and
flexible amid the shocks of the world, is a far more
[important achievement than the ability to expound
■the precise differences between the great philosophic
schools of thought. It is for this reason that the writers
of what might be called applied philosophy - such as
Platp, Montaigne, Goethe, Wordsworth, Emerson,
Pater, Proust — are far more valuable to one’s individual
growth than Hume or Kant or Spencer or Whitehead.
The chief advantage of a wide reading in philosophy
is that it gives one both the scepticism to stand up
against every dogmatic claim and the imagination to
treat withj reverence and humility every original hint
and illuminating suggestion.

B

33

CHAPTER II

CULTURE AND
LITERATURE

The reading of bboks can become a drug, a vice, an
obsession; something that weakens the very roots of a
person’s resistance to the miseries of life, something
that corrodes his power of getting things under control.
Where, however, our reading is assimilated by our
whole inner nature and orientated towards our own
secret cultural purpose, literature gives us more ‘iron,’
more penetration, more philosophy, more character.

The person who uses literature to the best effect is
he whose private vision of things has been so integrated
and clarified that it is as if he were himself a writer.
For although this mythologizing of one’s own identity
and its projection upon reality can exist without* our
having written a single word, it is this way of life and
this way alone that makes the essence of every writer’s
imaginative world.

There are book-lovers, of course, who are so bookish
as to find every sort of reality detestable; unless it can
be given a sort of literary twist, or can be made to
remind them, in some detail or other, of a favourite
author. Most of us, however, in the cross-currents of
existence, have gathered up a more or less original
response to things, a response which, on the iifiagiH-

34

CULTURE AND LITERATURE

ative plane, corresponds to the created worlds of the
great writers. It is when we sit down to enjoy a
stimulating book that this interior response of ours is
allowed to sink into temporary passivity. We are, for
the nonce, hypnotized by this alien mind. While we
read our world is Balzac’s world, not ours; Henry
James’ world, not ours; Herman Melville’s world,
not ours. But when, on the contrary, we plunge once
more into the stream of life, although now and again
we are tempted to think - ‘How like Henry James 1’ -
‘How like Dickens!'— what really has happened is
that our private response has been made more intensely
itself than it was before. It has not suddenly ceased
to be itself and become the response of Goethe or
Emerson or Hardy. It has become itself twice over;
and this has happened to it because of its assimilation
of these great writers’ moods into its own mood.

The question as to how far each one of these various
transmutations of reality represents an essence that
really and truly exists, like a Platonic idea ‘eternal
in the heavens,’ is still an open question. Certainly the
thrill one gets from a sudden flash of insight in a great
writer seems to be connected with a certain faith that
this insight which has pleased us so much represents
an authentic objective discovery.

For example, it seems hard to believe that the curious
excitement which is stirred up in us by the careful,
hesitant, intensely conscious receptivity of Miss
Dorothy Richardson, her revelations of the minute
changes that for ever take place, none exactly repeating

35

THE MEANING OF CULTURE

another, among the material surfaces of inanimate
things and among the intangible surfaces of human
minds, is not caused by a feeling that we are getting
into touch with something more permanent in the
world than one individual's emotions.

But whether our separate visions of things are
eternally and fatally subjective, or whether they
approximate, first in one way and then in another, to
some hidden reality that exists, independently of us
all, as if it lay mirrored in the mind of an Eternal
Being, the fact remains that to have consciously
cultivated a definite attitude in ourselves with regard to
life is the best way to get a heightened awareness of
how the air tastes, so to speak, in these diverse ‘foreign*
minds.

To realize the advantage that a person who loves
books has over one who cares nothing for them,
consider the contents of two separate human heads
whirling through a New York subway tunnel. Both
these heads are covered with conventional hats. Both
are staring helplessly at the subway advertisements.
Both are swaying to and fro with a dense crowd of
other human heads. Both are preserving an expression
of democratic patience. But there the resemblance
dnds. The un-bookish head, likely enough endowed
by Nature with a whimsical philosophy all its own,’has
probably been so debauched by its daily reading of
newspapers and magazines that its only humour
consists in a pathetically standardized facetiousness.
Such facetiousness is no doubt at this very moment

36

CULTURE AND LITERATURE

playing grimly enough over very practical problems.
The angry or the sarcastic words of our gentleman’s
employer . . . the worry about his unpaid doctor or
furious landlord ... his wretched quarrel over God
knows what, with his difficult sweetheart . . . such
matters, gone over and over again in this harassed
mind, throw their fretful patterns over the pictures
of soap and tooth-paste, and toilet powder. On the
other hand his thoughts may be complacent and self-
satisfied; his curiosity piqued by some recent scandal¬
ous incident, may be pleasantly provoked to humorous
ponderings. It is quite possible to live a busy, enter¬
taining, and eminently respectable life, independent
altogether of literature; but in such a case it will
probably be concrete objects, realistic situations,
external shocks rather than any kind of fanciful
dreaming that will fill a person’s head.

But what about that other human skull? If one could
visualize mental impressions one would be able to
observe, floating in and out of this opaque, bony
structure, how many airy clouds of fanciful craziness!
This human head would doubtless in any case dream its
dreams; but now, in its present pendulous position,
when the charm of its own vision of things shrinks
and wilts under reality at its worst, now is the moment
when the imaginative worlds created by great geniuses*
long ago dead, may, if the mental will is strong enough,
come to that poor head’s rescue. Under more normal
conditions these imaginary ‘worlds’ would serve, when
our book-lover was reminded of them, to rouse him

37

THE MEAN IN G*OF CULTURE

to mould reality after his own secret pattern. But now,
driven inwards, driven back upon itself, his mind
struggles to fling the magic of these real-unreal worlds,
like a sorcerer’s hypnosis, over this whirling panorama
of the raw and the crude. From Charles Lamb’s
‘Essays,’ for example, why should he not be snatching
something that might hover ironically and with a rich
mellowness between himself and those violent tooth¬
pastes, between himself and those rows of monotonous
grey hats and black boots? Then there would arise
in that Manhattan tunnel a friendly assemblage of
old-world humours, a fragrance, as it were, of old
folios, old wainscoted passages, old gardens and
purlieus of old college courts I

But more relevant perhaps to the nature of the
motley spectacle before him might there not float and
eddy round such a head quite a different host of airy
sprites . , . the grotesque-sentimental population of
Ytaketvs’s reckless fancy? "W eeping, chuckling, leering,
this dc\A eft Xwdy Vo\*gctaXms m\g\vt V>ea.r
a resemblance to our traveller’s strap-supported
neighbours. Hardly a photographic resemblance; a
cerebral phantasmagoria rather, wherein a chance-
tossed crowd of preoccupied New Yorkers is trans¬
formed into fairy-story ogres and angels!

But it is not only when in contact with the great
outer world that a person’s saturation with literature
thickens by a phalanx of portentous witnesses his
vision of the familiar. Alone in one’s room of a late
evening, bending over the fire, with the night-sounds

38

CULTURE AND LITERATURE

of the city or the night-silences of the country flowing
through one’s absent-mindedness, how deeply does
one’s inkling of the nature of life’s wild dreamstuflf
respond to the gestures of Dostoievsky’s fatality-
masks! Let them beckon to us, these living figures,
from amid their red coals! They are more than
characters in fiction, these people of Dostoievksy.
They are apocalyptic prophecies of psychic ecstasies,
only to be revealed when some use-and-wont shutter
of the human mind swings back in some pentecostal
wind! Furtively at this moment can we follow the
steps of Stavrogin as he stumbles through the mud
to drink tea from Kirilov’s samovar or to endure the
furious incoherence of Shatov as that strange man
makes of the God he cannot believe in the very raison
d'etre of his desperate life. It will be ourselves and not
Ivan Karamazov who will know> in a terrible under¬
knowledge deep down below all consciousness, that
when we went off on our little business. trip at our
petulant father’s bidding we deliberately planned the
old man’s abominable end! Nor will that ghastly
dialogue between the prince and Nastasia Philippovna’s
mad lover draw itself out through the long sultry
hours over the girl’s silent body without a witness.
Down there, in those caverns of red coals, over which
we dream, we, our very selves, will be watching all
this; watching it and sharing in its monstrous terror.
And how is it, that while from the wretched tales of
contemporary brutality there only rises within us a
wretched nausea of outraged nerves, or, at best, a

39

THE MEANING OF CULTURE

simple human pity and indignation, there should
mount up from these Dostoievsky tragedies a strange
quivering beauty, that beyond all and in spite of
all, seems to avenge and to absolve the human race?
Is it that in the great moments of these heart-piercing
novels we touch the fringe of some unguessed-at
Absolute of feeling, which, in ‘the dark backward and
abysm’ of human suffering, hints at unspeakable
consolation? Or is it simply that art itself, creating a
reality beyond reality, turns with its demiurgic finger
the intolerably pitiful into the symbolically tragic?

A person certainly does not realize all in a moment
the influence that literature exerts over human minds,
* the power it has of transferring to one’s real experience
that mythical heightening which it diffuses through its
imaginary world. It is indeed only after we have
saturated ourselves in these things, only after we have
read these books over and over again, that the charm
begins properly to work. But delayed though it may
be, the moment will come at last when we find ourselves
better able to cope with our own misadventures
because of what we have caught, let us suppose, from
the heroic fantasies of the author of Don Quixote, or
from the sly humours of the autho; of Tristram
Shandy.

One of the most invaluable clues to that difficult
casuistry that keeps the integrity of the ego intact
amid the rough-and-tumble of life can be derived from
✓ the writings of Henry James. But neither does the
spacious aroma of this high secret reveal itself at the

40

CULTURE AND LITERATURE

first encounter; too diffused is it in the provocations
of plot, too involved in the complications of character.
By degrees, however, as we read-say ‘The Golden
Bowl’ - for the second or third time, it dawns upon us
that these punctilious and roundabout approaches
to the quintessence of life, these wavering and reluctant
moth-hoverings about the problems of good and evil,
have a definitely significant worth in one’s personal
adjudication of human values, as one goes through the
world; a worth, that, although implicated here with
the cunning craftsmanship of a rich aesthetic creation,
is in reality a redoubtable asset to the armoury of one’s
own private life-weapons.

But it is by no means only from ostensibly ‘creative’
works that a person can strengthen in himself that
mysterious intellectual magnetism that enlarges the
circumference of his ego. No writer conveys more
subtle mastery, for instance, of the habit of imaginative
concentration than does Walter Pater, even when
working in the sphere of interpretative criticism. To
many devotees of what might be called the ‘Aesthetic k
la Mode’ Pater’s famous methods of style and treat¬
ment seem antiquated and even affected; but to anyone
who has made that first grand cultural plunge which
implies the reduction to a spiritual contemporaneousness
of all past methods, the stimulus afforded by this noble
and meticulous fastidiousness is second to none.

No one, for example, is more alive to the essential
art of forgetting than Walter Pater. To treat all the
litter and debris of the commonplace as though it did

4i

THE MEANING OF CULTURE

not exist is one of the deep secrets of his imaginative
device in the handling of existence. One learns from
him too that while there are certain shocking and
ghastly possibilities — that of spiritual annihilation for
example, or the grim chances of a sudden violent
death-which can be treated with tragic exultation,
there are other horrors in the world which if they are
dwelt upon long and closely mean a risk of sheer
madness. But the essence of Pater’s genius and the
mental trick from which the richest profit can be wrung
is his way of associating the spiritual vision of his
artists and philosophers with the thousand and one
little physical aspects of their material environment.
No one is more of an adept than he in indicating the
manner in which the various inanimate objects which
touch the sensibility of exceptional minds affect the
symbols of their thought. External objects of all
kinds, landscapes, houses, gardens, furniture, the
fabrics of dress, the qualities of food and drink, hot
and cold airs, moist and dry airs, the stuff of the soil,
the feeling of masonry, the way the light falls, the way
the darkness flows — all these things, as he introduces
them in his slow, careful, reticent, economic way,
yield up their recondite essences and grow little by
little to be incorporated and embodied in the shapes
and contours of the particular thought for which he
is seeking the precise formula.

More cognizant of course than Pater of the especial
problems thrust upon us by modern life, Marcel
Proust, too, is a writer from whose tricks of sensibility,

4 *

CULTURE AND LITERATURE

quite apart from the convoluted fascination of his
dramatis personae, much illumination can be trans¬
ferred to our own wayfaring. Awareness! And again
and again awareness! For one does surely come at
last to recognize that it requires as much effort, as
much stoical austerity, to shake off those heavy vapours
of use-and-wont which betray us into taking the passing
moments for granted, as to devote ourselves to some
great ideal cause.

A most poignant test of one’s aptitude for such
cultured intensity of outlook may be found in one’s
attitude to the writings of James Joyce. Liberated
once for all from the snobbishness of assuming that
what is new is better than what is old, we have a perfect
right to wash our hands of James Joyce if he only
outrages us, or on the other hand to exploit his genius
to the limit if he suits our humour. What, of course,
we have not the right to do is to denounce him roundly
as an enemy of all decency. But it will indeed only be
a certain type of cultured person - the type who is
driven by a strange demoniac urge to wallow savagely
in the rank ooze of the great river-bed of modern life;
in its slang, its psychological catchwords, its mechanical
toys, its circus-manias, its furious alternations between
Atheism and Catholicism, its brutal eroticism — who
will be able to snatch from Joyce’s ferocious philology,
from his excrement-obsession, from his sublime
scavenging, the oil which is required for the feeding
of the sacred flame.

It is very noticeable that in the overtones and
43

THE MEANING OF CULTURE

undertones of great prose, whether it be fiction or
otherwise, the profounder racial attributes are untrans¬
latable. Not only are they untranslatable—just as is
the rarest poetry - but they tend to pass unrecognized
by all except those who have the same blood in their
veins. This seems to be especially true of the work of
Thomas Hardy. Without some measure of an English
strain in one’s being, it is doubtful how far even the
most Nature-loving mind can do full justice to the
taut, tense, uncompromising artistry of this great
craftsman. But if once such grey, sombre, incisive
handling - all form, scant colour - adapting and adjust¬
ing itself to the contours of reality like the blade of a
plough to the unevennesses of a flinty pasture, has
conveyed its stark integrity to your vision, then,
whenever you set out for a walk through any country¬
side that has the least English quality, you will find
that all your impressions of the way, the white road
crossing the hill-top, the noon-drowsed grasses on the
high banks making arabesques of filmy patterns against
the sky, the motionless branches of the Scotch firs
carrying like tattered gipsy rags the mental burdens
of so many forgotten wayfarers, can arrange themselves
into forms of such intense significance that they write
their runes, as if with a remorseless engraver’s tool,
upon the brain that once yields up to them.

To turn, however, from earth-symbols to ocean-
symbols. In one’s passage through the world it is
impossible to escape noticing how vibrant a response
is roused in one nature, and again not in another nature,

44

CULTURE AND LITERATURE

by certain scenes, certain episodes, certain pregnant
atmospheres. Such a scene, hitting one onlooker to
the heart while it is utterly disregarded by another,
might well happen to be the unlading of a ship at a
darkening water-front or at the crowded foreign docks
of some big mercantile city. How easily all this might
pass you by, completely unrecognized, if you had
not been a reader of Joseph Conrad. But, if you have
been, it will prove not only the laborious stevedores
at the gangway, not only the anxious Captain Anthony
on the bridge, not only the caustic, nervous group of
petty officers, not only the pleasure-drugged bewildered
seamen who will excite your interest. Your eyes will
wander presently into the interior of some little chand¬
ler’s shop in the street near by, caught by the tar¬
smelling cavernous darkness, by the coils of rope,
by the polished poop-lanterns, by the mysterious
nautical instruments, and behold! that stooping figure,
so youthful and yet so fatally isolated from normal life,
just now engrossed with that elderly skipper —why,
it is Lord Jim himself, poised for a season again like
some desperate migratory bird, before making another
reckless flight 1

That is the whole thing. A mind that is totally
uncultured gets its own especial thrills, no doubt, from
a raw direct contact with unmitigated experience; but
the cultured mind approaches everything through an
imagination already charged with the passionate
responses of the great artists; so that what it sees is a
fragment of Nature double-dyed, so to speak, a reach,

45

THE MEANING OF CULTURE

a stretch, of time’s whirling tide, that carries upon its
chance-tossed eddies the pattern of something at once
transitory and eternal.

What any intensely conscious personal culture is
always seeking from literature is an enhancement of
its own peculiar vision. With this as its secret purpose
it is extraordinary how various, how far-fetched are
the Fortunate Isles from the shores of which it brings
its cargoes home to port. A cultured reader’s book¬
shelves present indeed a very different appearance
from those of a specializing student or from those of
a collector of first editions. These accumulate their
books for some purpose alien to their diurnal impres¬
sions from the life-stream. | The cultured man reads
in order that this life-stream may itself take on a
peculiar tinge, the reflection in those waters of his
mind’s assimilations. And thus side by side in such a
person’s bookshelves very strange companions will
look out together upon the world. Since it is the
essence of life that concerns him —how life really
looks from the point of view of such as have pressed
through to the living sap - we may expect to find a
book like Goethe’s ‘Conversations with Eckermann’
sedately reposing between Montaigne’s ‘Essays’ and
some volume from the last surprising instalments of
Miss Dorothy Richardson’s ‘Pilgrimage.’

The rank sweet-natured egoism of Montaigne —
that earthly sunburnt ‘physicalness,’ whereby the
shameless bodily senses are accepted on their own
terms, not as ends in themselves but as Nature’s

46

CULTURE AND LITERATURE

unbetraying milestones on the great toll-pike of reality
— does not fall so out of place when it finds itself cheek
by jowl with such a book as Miss Richardson’s
‘Interim’ or ‘Revolving Lights.’ From the famous
‘Essays’ one learns the trick of a sturdy, masculine
profanity of detachment. From Miss Richardson one
learns the exact feminine counterpart of this. In both
it is a case of ‘born fresh every day!’ Yes, from both
these writers, when one descends to the bedrock,
underlying their honey-sweet thrills, we learn that a
rich, relaxed, ecstatic happiness is something that has
to be fought for afresh every day-fought for by
convoluted mental tricks, fought for by lying back on
certain forms of sensuality, fought for by remorselessly
beating away those ‘ideal’ treacheries wherein the
insane spirit of man seeks to murder Nature.

Miss Richardson’s heroine might easily, like Mon¬
taigne, have caused herself to be awaked before dawn,
so that she might taste the full sensation of going back
to sleep, in that little attic of hers in Tansley Street,
to the tune of St. Pancras’ bells! Just as we gradually
gather up from Montaigne a not easily definable
attitude - and yet it is an attitude - to the spectacle of
life; so from the history of Miss Richardson’s young
lady — and one comes to know the wisely selfish Miriam
as well as one knows one’s own family - a hardly less
important secret steals by subtle degrees into one’s
intelligence. For just as Montaigne makes of relaxed
and most natural sensualities a series of clues that lead
us to the edge of the subtlest human pieties; so, from

47

THE MEANING OF CULTURE

the proud secretive raptures of Miriam over her
roofs, her walls, her carpets - their very dust a sacred
mystery!-over her abstemious sunlit breakfasts,
over her wet lamplit pavements, her bells of St.
Pancras, her barrel-organ tunes, her first lilac-buds,
her south-west winds, we can derive a solitary, sub¬
human sense of life that is of the deepest value to our
awareness of the under-tides of our own being. What
one derives indeed from the reveries and soliloquies
of this heroine of Dorothy Richardson, who is in a
sense the best-known character in modern fiction, is a
formula of culture totally independent of success, of
fame, of money (beyond bare necessity), of religion, of
friendship, and of every sort of scientific knowledge!
It is a formula that leaves the psyche free to give herself
up at every fortunate escape into quiescence, to all
those impalpable outflowings, lovely and evasive as
odours on the air, which our senses receive, like the
projected eidola of Epicurus, from the inanimate
presences about us.

There is one particular prose-work the spiritual
reaction to which, with its imaginative after-taste, is
so penetrating and peculiar that it would be a pity not
to call attention to it just here. This is Doughty’s
‘Arabia Deserta.’ The singularity of this extraordinary
book is that from its pages one is able to arrive at a
personal conception of what such a primeval existence,
lived in a majestic closeness to Nature, dignified by
the laws of immemorial ritual, touched by a tragic
and tender courtesy in that cosmogonic desolation,

4 *

CULTURE AND LITERATURE

really feels like. Certainly in ‘Arabia Deserta’ what I
have in mind as the essence of culture is justified as a
legitimate purpose for the whole of life. These Bedouin
Arabs of Doughty’s explorings, although greedy,
selfish, tricky, treacherous and lecherous, have -
throughout their gesture-ornamented life — a rich rare
human dignity that nothing seems able to diminish or
abrogate.

In catching the life-heightening accents from the
life of these people one realizes what a deep part is
really played in any adequate culture by what Lord
Chesterfield calls l les manures, les agrements> les graces'
In ‘Arabia Deserta’ this aristocratic good-breeding is
associated with the barest necessities of existence, with
life. These manihres , agrements , and graces become here
the bedrock ritual, so to say, of the ‘bread and salt' of
the poetic ascesis of an existence pruned of everything
but the naked essentials. Human emotions are banked
up here till they are stripped of all irrelevancies,
fripperies, frivolities. One has the feeling that one
is isolated between these blinding sandstorms and these
burning rocks till the naked soul is left completely
alone with Allah, the All-merciful, the All-compassion¬
ate. The style of Doughty is so saturated with the
vocabulary of the old great English writers that to
appreciate ‘Arabia Deserta’ at all is a good proof that
one has advanced a certain distance in one’s pilgrimage
of literary culture. An even greater proof than what
one gets from Doughty, however - indeed a convincing
proof that one’s aesthetic sophistication is an authentic

49

THE MEANING OF CULTURE

thing —would be one’s appreciation of the incom¬
municable quality of style in Sir Thomas Browne’s
‘Hydriotaphia* or ‘Urn-Burial.’ The recognition of
the particular kind of eloquence that has the power,
in the midstream of its gigantic imagery, to reveal a
humorous awareness of its own extravagance is a
recognition that an unbookish person would rarely
have the wit to feel; any more than he would be able to
catch the mysterious echoes that follow these great
reverberating paragraphs, like the very feet of the
‘hungry generations’ themselves, treading down the
memory of the perpetuity of mortality.

It is a memorable moment in one’s intellectual life
when one realizes that it is not learning for learning’s
sake, or knowledge for the sake of knowledge that is
the object of our secret struggle with inertia and
futility. It is simply that we may enjoy the most excit¬
ing sensations that life offers; and enjoy them over the
longest possible extension of time. Among such
sensations one of the most thrilling is that vague
feeling of old countryside romance which emanates
from certain far-off highways and certain remote
villages. Standing upon some old stone bridge where
the moss grows green and untouched on the curve of
the dark arches above the water, one often feels that
there is a silent unspeakable secret hovering about
such places that no writer has ever really caught.
Perhaps these are things that cannot be caught; but,
if they ever are, it will be by a mind that has made of
such memories a rich, dim background, a background

50

CULTURE AND LITERATURE

full of supernatural power that has the strength to
push back, if not to obliterate, the crude pressure of
modern preoccupations. Such a mind was that of
Emily Bronte. Even if your nature finds something
monstrous and shocking about the physical brutalities
in ‘Wuthering Heights’ - the cruelties of HeathclifF
to Isabella and to his own son - it yet remains that
around that desperate love-affair there have been
gathered such impressions of rain and storm, of flying
rooks and of tossing clouds crossing distorted moons, of
drenched moor-lanes full of last year’s piled-up beech-
leaves, that the drift of romance across one’s mind, as
one reads, absorbs everything else. ‘Wuthering
Heights’ is indeed a terrific emanation - the breaking
out of an electric storm - from that obscure reservoir
of unexpressed yearnings that most hearts conceal
under a thousand decorous masks. To lose the power of
imaginative sympathy with their dark thunderous
ways were to subside upon a sort of death-in-life! From
such a death-in-life Emily Bronte exultantly releases
us, as if she were herself one of those strange mythic
figures in William Blake’s pictures.

The place occupied in the older times by poetry
seems in our own day to be occupied by imaginative
prose. The role of culture among modern minds
must imply, therefore, an attempt to turn all the critical
searchlights we can summon upon contemporary
writings, choosing what stimulates us and avoiding
what disintegrates and confuses us. The desirable
effect upon one’s mind of imaginative literature is not

THE MEANING OF CULTURE

to strengthen one’s memory or enlarge one’s learning,
or to inspire one to gather together a collection of
passages from ‘great authors’; it is to encourage one to
learn the art of becoming a ‘great author’ oneself; not
in the sense of composing a single line, but in the
sense of sufficiently detaching oneself from the chaotic
spectacle of reality so as to catch on the wing that
fleeting loveliness of which no genius has the monopoly
and which only the stirred depths of one’s own deepest
nature can prevail upon to pause in its eternal flight.

The difference between an educated mind and a
cultured mind is that the former tends to use, in a quite
literal sense, the great achievements of the past, as
academic standards by which to measure the achieve¬
ments of the present; whereas the latter assimilates,
spontaneously and freely, what best suits its own
individual mental fatality, in both past and present.
The educated mind is proud to be able to register
any pleasure at all in reading Montaigne, let us say,
or ‘The Anatomy of Melancholy’; whereas the cultured
mind nourishes its own original sensibility — of which
every person has at least the rudiments - upon those
various imaginative, humorous, spiritual, analytical
moods, which tally best with its inherent bent, apart
altogether from where they may be found.

Thus, while an educated mind might love to display
its pedantry by berating Anderson, Hemingway, the
Sitwells, Aldous Huxley, T. S. Eliot, Dr. Williams,
E. E. Cummings, Dos Passos, Joyce, Wyndham
Lewis, from the viewpoint of the old writers, and while

5 *

CULTURE AND LITERATURE

a clever modern mind might, in its prejudice and
ignorance, eulogize these contemporaries while it
relegated to oblivion the masterpieces of a thousand
years, the kind of mind I am attempting to outline
possesses enough naturalness and enough sophistica¬
tion to extract the quintessence of both ‘old’ and
‘new’ and to recognize that there is much more resem¬
blance between old and new than either the old-fashioned
pedant or the modernistic fanatic would in their one-
track notions dream as possible.

As a matter of fact what is called ‘Literature’ plays
a much larger part in the creation of those impalpable
‘worlds,’ in which we all live, than one always recog¬
nizes. A chaotic flood of impressions rolls in upon us,
amorphous and mountain-high, and what is it that
selects from this meaningless mass? What is it that
gives this tidal wave of sensations any kind of intelli¬
gible significance? Nothing but tradition! And how
is tradition expressed? In words! Generally in words
that are so heavily encrusted with images and feelings
that we forget that after all they are only words! Let
no one try to maintain that words are too remote from
reality to possess this power. They cannot be remote
from reality when they create reality. The individual
universes of impression and feeling in which we all
live are as a matter of fact penetrated to the core by
literary catchwords. The blunt, brutal, downright
realism, so popular at the moment, is not one bit
more close to Nature than the sentimental rhetoric or
the dignified reticence of those habits of behaviour

*53

THE MEANING OF CULTURE

and expression from which it is a violent reaction.
Reality is a thousand times more subtle and compli¬
cated, more labyrinthine in its retreats and evasions,
than the dream-world of the most recondite idealist.
It is also a thousand times more stark and bleak than
the crudities of the most ferocious realists. It is both
these, because it is the Protean offspring of the psychic
embraces of every sensibility that exists with the
original plastic lifestuff.

Literature being a congeries of organized word-
patterns, every unit of which swirls up, bidden, un¬
bidden, from unconscious race-traditions and half¬
conscious personal impressions, it must itself act and
react upon each individual experience. We are
tempted to treat as pure direct perception what is
actually a series of mirror-pictures, whereof the
images are created and sustained by the subtle auras of
words. Persons who are proud of being well educated
but who are in reality totally uncultured are always
inclined to separate what they call ‘literature’ from what
they call ‘life.* The former they endeavour to enjoy
in itself, as a sensation apart from the rest, an escape,
a distraction, an anodyne; while the latter is simply
taken for granted as the element they swim about in.

What they mean when they talk of ‘life’ is some¬
thing that belongs to the pressure of the practical
world; something that has to be dealt with by the help
of a series of resolute human gestures; gestures which
have been consecrated by agelong habits of conven¬
tional behaviour as the proper response to such a world.

54

CULTURE AND LITERATURE

But there is, in reality, no such thing as this prac¬
tical ‘life,’ opposed to literature and free from any
tinge of literature.

The essence of literature hovers round us all the
time. Whether we are writers, whether we are readers,
or unable so much as to read or write a word, it flows
forth continually from certain chance groupings of
palpable, visible things. It emanates from shapes,
forms, sounds, odours, events, situations. The atmos¬
phere which encircles our planet is like those air-
regions described by Rabelais through which the
vessel of Pantagruel sailed. It is positively thick and
sultry with the as-yet-unembodied essences of words.

Quite apart from writing or reading there is always
going on a magical inter-vibration, a creative move¬
ment, between race-made words and individual im¬
pressions. We all move to and fro in a fluctuating mist
of pseudo-verbal, pseudo-sensory images. These
images are nothing less than the protoplasmic world-
stuff of every kind of literature. Men of genius give
shape to these floating nebulae, to these hovering
simulacra, until some palpable organic form swings
free in space. What has been once snatched out of
the ‘casing air’ now moves through that air on its own
orbit. Limbo is thus ravished; new ‘worlds’ are
created; and upon the ambiguous coasts between mind
and matter the wave-curve of beauty is petrified in
mid-descent.

It is the cultured mind rather than the educated
that senses this constant interpenetration between the

55

THE MEANING OF CULTURE

auras of intelligible words and the auras of what we
call ‘inanimate* things. The literary mind and the
un-literary mind look at the same crowded platforms
from the windows of the same subway express. The
essence of literature is there, for all the vulgarity and
the garishness, and both types of mind respond to it.
It is only that the literary mind is aware of what it
responds to while the other takes it for granted.

So also with what one observes in the crowded
streets. The sensation of ‘blueness,’ for example, as
it is glimpsed between the tall buildings, ceases for
both types of mind to be a mere sensation because of
all the quasi-literary traditions that hang about one
single word. The word ‘sky,’ the word ‘cloud,’ the
word ‘grass,’ the words ‘autumn leaves’ — these appar¬
ently arbitrary syllables - carry with them so cumu¬
lative a weight of human association that they fling a
complicated atmosphere about the simple sensations
of ‘blue’ or ‘green’ or ‘white’ or ‘red.’

One of the most interesting features of modern
literature is its trick of exploiting the crudest forms of
slang, the most brutal aspects of megalopolitan amuse¬
ments, the most unromantic developments of mechan¬
istic science, to startling imaginative effect. This only
confirms our view that the ‘protoplasm,’ so to speak,
of the finest literature floats and drifts, as the wind
blows, round the unlikeliest places. But the more
cultured, in the sense here advocated, a human mind
may be, the more serpentine will be its power of
adjusting itself both to the ivory towers of the old-

56

CULTURE AND LITERATURE

fashioned aesthetic responses and to the circus-tent
sawdust of the new.

What we call ‘literary taste* changes like all other
mortal fashions. Just at present we are living in a
curious transition between an age of pseudo-scientific
realism and an age of pseudo-scientific classicism.
The essential cravings of the human heart, however,
being what they are, it is impossible to believe that the
shifting of the psychic compass needle between the
north-north-west of Theodore Dreiser’s naturalistic
objectivity and the south-south-east of Paul Valery’s
depersonalized precision will be more than a passing
phase.

All good literature is spread out, like a Platonic
over-world of ideal forms, just a little above the ‘real
world’ in which we spend our material being; and it
will not be long ere those elements, at present slighted,
of romance and sentiment are summoned back to
earth from their temporary exile by the magnetic
lodestones of new imaginative adventurers.

57

CHAPTER III

CULTURE AND
POETRY

Poetry, considered as an art, is the expression of a
certain aspect of life, which for the moment I must
content myself by defining simply, as the poetical
element. The deliberate heightening of one’s life by
the aid of this mysterious and fluctuating quality in
things seems to be an inevitable impulse in the men¬
tality of any nature worthy of the title ‘cultured.’ But
what precisely is this quality? What is this floating
element in life that the human race by an overtone of
universal agreement has come to name the poetical?
We can at least narrow down its field by indicating
what it is not. It is not the ideal. It is not the
beautiful. It is not the artistic. It is not the noble. It
is not the moral. So much at least we can say. But,
approaching the thing itself more closely, can we not,
by means of concrete examples, arrive at some notion
of what constitutes its essence? I will proceed to point
out - and not blindly or simply at random - the sort of
objects, that, without reluctance, most men and women
would agree to call by this name. As I enumerate
things of this kind, the reader will, I believe, find little
to quarrel with in my feeling that they have some-

58

CULTURE AND POETRY

thing — though it is not easy to say what — in common
between them all. But whatever this evasive essence of
the poetical element may be, it is from this, from this
floating and fluctuating quality, shared by so many
things, that the written art of poetry draws its selected
material.

Loaves of bread . . . honey in the honeycomb . ..
summer haystacks and spring withy-beds . . . the
flames of candles . . . the flight of birds . . . the
darting of shoals of fish . . . the shadows of clouds
. . . the rising and sinking of the sun . . . old
buildings, old rituals, old mythologies . . . the annual
procession of the seasons . . . weeds and shells at
the ocean’s edge, wet pebbles and the thin black
windrow . . . rain on roofs . . . thunder on hori¬
zons . . . murmuring of brooks, sweetness of grass
. . . sadness of stirred leaves . . . the deep symbolic
meaning of such objects as a plough, a sword, a grind¬
stone, a windmill, a boat, a cradle, a coffin . . . the
friendliness of wind-tossed smoke, arising from hearth
or chimney . . . the forlornness of swaying reed-tops
above lonely salt-marshes . . . the warmth of sun-
scented leaf-mould, the udders of cattle, the horns of
goats, the spouting of whales . . . frost marks in
ditch-mud . . . vapour-circles round misty moons
. . . rivers and highways that carry old legends, old
memories, old tragic transactions into the unborn
future-all these things, and the emanations pro¬
ceeding from these things, possess some mysterious
quality in common; and it would seem that this quality

59

THE MEANING OF CULTURE

cannot be named by any other name than that of the
poetical element in life.

But a difficulty arises at this point that must be
dealt with before we can accept this element as the
only proper subject of the art of poetry. The difficulty
I refer to springs from the fafct that apart from this
poetical element there is also — and it is a totally differ¬
ent thing — the element of the beautiful. The ultimate
secret of existence, as far as we have come to approach
it, reveals itself to our minds in a threefold way. It
reveals itself as the true, as the good, and as the beauti¬
ful. What we call beauty therefore, is, in its inherent
nature, one of the mysterious manifestations of what
our older philosophers call the absolute. Now it seems
as if the whole subject of the nature of poetry is clari¬
fied and simplified by separating the purely poetical
altogether from the purely beautiful. For when such a
separation begins to formulate itself in one’s mind,
a new and very interesting light begins to fall upon
the nature of this particular element which we have
been pursuing. By realizing how completely different
a world of impressions is occupied by the beautiful,
we find this other world, that of the poetical, shrinking
back and narrowing itself down into much more
definite limitations. And do we not now in comparison
with this mystery of the beautiful, begin to detect
certain very definite characteristics of the purely
poetical? It seems that we do; and it seems also as
though the chief of these were the presence of some¬
thing emotionally anthropomorphic, something tradi-

60

CULTURE AND POETRY

tional, customary, ritualistic, something adhering to
our race’s inherited sentiments, hopes, loves, fears,
feelings of bodily ease, feelings of romantic un-ease.

To realize this difference between beauty and poetry
one need only visualize for a moment the illuminated
body of some swiftly moving aeroplane, an aeroplane
engaged in advertising, let us suppose, some toilet-
necessity or some new brand of cigarettes, upon a
city sky. Such a spectacle might easily be conceived
as a genuine revelation, in the spheres of form and
colour, of beauty considered as a non-human absolute.
But with that peculiar quality in things I am trying
to indicate as belonging to the essence of poetry such
a spectacle would have nothing to do. In fact it would
exercise a destructive influence upon the natural
poetry of the particular night or twilight when such
an occurrence took place.

This is no extreme case, no unusual case. In modern
life, where machinery and inventions have so often a
strange and startling beauty of their own, a beauty
which beyond refutation springs from the same
absolute as all other ideal forms, there must constantly
arise in our minds a disturbing conflict. On one side
there appears this untraditional ideal beauty, which
can be equally exploited by the inspirations of art and
by the laws of mechanics, and on the other side there
is the familiar atmosphere of the historic poetry in
things which is hostile both to the new and to the
mechanical. The chosen material both of modern
mechanics and of modern aesthetics is bound to appear

61

THE MEANING OF CULTURE

to the spirit of poetry as something alien and troubling;
a discord, a menace. The reason for this is to be found
in the fact that any manifestation of beauty may be
completely unsympathetic to traditional emotion,
feeling, sentiment; whereas it is of the very essence of
poetry to remain saturated with all the historic human
reactions, with every sort of old-world sentiment. Poetry
is in fact a thing so totally different, in both its sub¬
stance and its entelechy, from beauty that the two
revelations appeal to different types of mind. We must
remember that an object can be beautiful without being
in the least poetical; just as it can be poetical without
being in the least beautiful. Poetry is composed of a
certain traditional body of feelings about life; a body
which has gathered by slow adhesions into a presence
of values, nuances, discriminations to which must
conform what every nation and every age may add as
an indigenous quota of its own.

Poetry is thus something profoundly and emotion¬
ally humanized; and since time alone can humanize
inanimate objects, the mere fact of being very old
can make ugly objects poetical; while the mere fact
of being very new can make beautiful objects un-
poetical. To select what might be regarded as absurd
examples but which really are significant — a torpedo¬
shaped racing motor-car is beautiful but not poetical,
whereas a bare ‘wishing-bone* is poetical because of
fairy-story association but absolutely unbeautiful.

It is, as may be believed, this basic difference
between the beautiful and the poetical that underlies

62

CULTURE AND POETRY

many temperamental hostilities in every age. From
some of these clashes of temperament our personal
culture may be most subtly deepened and intensified.
From others it may issue forth maimed, bewildered,
side-tracked. It is of course the discovery of one’s
own secret intellectual fatality that alone can decide
whether it is wiser for the individual mind to concen¬
trate on the poetical or on the beautiful. And though
we may be eclectic enough to cultivate both, it will save
us from much interior confusion if we can come to
realize with full mental clarity towards which of these
two great orientations we are congenitally urged.
Each of them calls forth certain spiritual powers, but
these powers are not the same. It would seem as though
the imaginative emotion has deeper and freer play in
dealing with the poetical; while the imaginative reason
is able to assert itself to greater advantage in regard to
the beautiful.

Throwing aside any fatalistic resignation to the
particular epoch in which we happen to be born, it
would seem as though there existed in the individual
mind a power to make its own secret choice in these
things, whether that choice jumps with the spirit of
the age or directly contradicts it. The mind that is
thrilled by stupendously high buildings, by the
amazing flight of aeroplanes, by the incredible swift¬
ness of great liners, more than by rocks and grass and
trees, is a mind that loves beauty more than poetry.
There are even certain landscapes upon the earth that
one instinctively recognizes as appealing to the beauty-

63

THE MEANING OF CULTURE

loving mind rather than to the poetical mind. Such
landscapes have non-human, non-historical, chemic-
cosmogonic character and their power over the mind
is not a matter of literary suggestion but a direct impact
of form and colour arranged in non-human patterns.

Would it seem a too narrow doctrine if we were to
take for granted that the art of poetry will be most
sui generis , most entirely itself, when it expresses in
words the purely poetic view of life? From the view¬
point of this doctrine, if we do accept it, most modern
poetry falls short of the earlier kind. If any character¬
istic more than another stamps as modern the poetical
experiments of our day it is the invasion of the peculiar
terrain of the art of poetry by the more purely aes¬
thetic values of the arts of painting and music.
Poetry hovers over everything that has been a back¬
ground to human life, over everything that has been
a permanent accessory, a daily tool, long enough for a
certain organic identification to have grown up between
the diurnal usages of our race and this or that fragment
of material substance. Thus it is not surprising that
the most deeply satisfying poetry, and that which
stirs the imagination most strongly, is the poetry of
old times wherein this animism or vitalization of the
inanimate is most marked. Homer is thus greater
than Aeschylus, Aeschylus than Dante, Dante than
Milton, Milton than Matthew Arnold, Matthew
Arnold than W. B. Yeats!

This particular sliding-scale of values must of course
be taken loosely; for it would be protested by many

64

CULTURE AND POETRY

cultured people that Shakespeare was more appealing
than Homer, Goethe than Dante, Keats than Virgil,
Walt Whitman than Milton. But it does seem approxi¬
mately true that from a bird's-eye vision of the pro¬
cession of poetry the earlier masters are more poetical,
more definitely creators of a poetical atmosphere than
the later ones.

But though this historic lapse and lamentable sub¬
sidence of high human feeling, this gradual sinking
down of poetic values from the simplicities of Homer
to the sophistries of our contemporaries, cannot be
gainsaid, there are epochs in English poetry that
possess a magic of their own unlike anything else in
the world. Such for example are those honey-breathing
purlieus of enchantment, those green vistas and richly
receding margins of romance, that we enjoy in the
poetry of Keats or in the poetry of Walter de la Mare.
Such too are the rambling ways we follow, in so many
anonymous ballads, across moor and fen, by mountain
and seashore. Wherever the wild-tossed branches of
the tree of life creak in the wind, be it on lonely cattle-
drove or on lamp-lit street, the roaming falcon of
poetry hovers, swoops and dips.

It would seem as if the most natural and fruitful
impulse in the growth of a sensitive mind, as far as
poetry is concerned, is to plunge into a temporary
obsession for one poet's style and one poet's vision, one
after another. Anthologies have their place; but real
culture loves better to saturate itself, first with one type
of imagination, and then with a different one. A mind
c 6 5

THE MEANING OF CULTURE

preoccupied with Blake, let us say, must needs perceive
no single grey thistle on the roadway, no single red
geranium in a window-box, but these objects become
strange symbolic portals to a whole world of mystical
impressions. After the same manner a mind hypno¬
tized by the sensibility of Coleridge will catch the
fantastic motions of ‘one last leaf,* shivering against
a winter sky, so intimately close that it will come to
partake of the very essence of that leafs planetary
feeling.

Nor will such a mind be in the least limited, in its
spiritual-sensuous wanderings, by the clamorous asser¬
tiveness of any modern fashion of artistic expression.
It would seem as if one of the most unforgettable
intimations that ever comes to us in our intellectual
life comes when we first recognize with a thrilling
rush of liberating scepticism that all the great poetic
epochs are - from the viewpoint of personal culture —
equal and contemporaneous. A magical liberation
dawns for us the moment we recognize that we have
a perfect right to throw ourselves with complete
sceptical detachment from modern science into the
mythopoetic mood of any early poet whose temper of
vision hits our peculiar humour or fancy. Thus it can
happen that any green glade of rustic woodland can
give place to some Spenserian rider, dreamlike and
glittering, under the dark boughs. Thus it can happen
that any dawn-touched strip of sandy shore can reveal
shell-bright sea-gods and glaucous-eyed maidens, as
in an Idyll of Theocritus. Thus a solitary bird’s nest

66

CULTURE AND POETRY

fall of snow can bring all the poignance of Villon’s
mood, all the fantasy of Verlaine’s imagination, rushing
over us in one memory-charged beat of the heart.

The eclectic transformations of any real poetic
culture are boundless, just because all the ages are
made equal and contemporary to the sceptical mind.
Thus the hot, shrill ecstasy of the lark’s music can be
at the same moment glamorous with the pantheistic
thrill of Shelley’s vision, desperate with that wild pro¬
test against modern sterility such as we get in T. S.
Eliot’s ‘Waste Land,’ and sweet and mellow to the
sick heart as the love-litany of a slow-moving sonnet
of Shakespeare.

All equally present, in their pressure upon any real
culture, are the reactions to life of the very earliest
poets whereof there is record. Thus it is entirely
possible to give oneself up without reserve to Homer’s
vision of the world, even in the midst of the most
mechanized modern metropolis; possible actually to
live, here and now, according to Homer. And what
would this living according to Homer really mean?

It is, of course, hard to sum up in a few paragraphs
the drift of an entire system of imaginative life; but,
roughly expressed, what it would seem to mean is a
quite definite characteristic of selection from the flux
of life certain ‘first and last things’ and of concen¬
trating upon these things held up, as it were, in purged
and stripped relief, against the chaotic background of
the unessential.

A word of crucial warning would not be out of place
67

THE MEANING OF CULTURE

just here. If one happens to be ignorant of Greek the
only wise thing to do is to read Homer in the simplest
prose translation one can possibly obtain. Reading
him in this way it will not be long before we grow
conscious that we are imbibing a quite definite manner
of regarding earth, water, air, clouds, blue space, the
sun and the moon, trees, animals and human beings.
We shall come to see all these things under a certain
purged and rarefied atmosphere. We shall come to
see them from the vantage-ground of a certain stoical
exultation, a mood neither spiritual nor sensual, but
simplified, concentrated and profoundly poetic.

It is not enough to admire this image or that meta¬
phor or to enjoy the swing and roll of the words or the
dignity of the story. No one has a right to say he enjoys
Homer until his actual reaction to sun and moon and
earth and sea, and to the significant groupings of
people and things, has been liberated by the Homeric
open secret.

And now there arises a very interesting point. No
one can be blamed for being temperamentally attracted
to certain remote epochs of poetry, and on the other
hand bitterly hostile to others. Working upon us all
the while in the darker regions of our nature —in
defiance of the power over us of the particular age
into which we are born - is always a furtive predi¬
lection for some historic era against all the others.
One may indeed suspect, too, that the blind antipathy,
amounting to a savage maliciousness, that we feel for
a certain past time, is due to the fact that the psyche

68

CULTURE AND POETRY

within us is a lost child of that age’s spiritual opposite
and cultural antagonist.

Certain ages are certainly more exacting towards
their lovers than others and more difficult to appro¬
priate and adjust in an eclectic system of culture.
Such are the Middle Ages. The modern temperaments
whose pulses of existence beat in the mediaeval way
are bound to experience many shocking outrages to
their nerves in the attempt to adjust themselves to the
life of a modern city. But what a heavenly escape for
such people, what an anodyne for all their sorrows,
when they first stumble upon Dante! Not Dante
himself, when he first encounters Virgil, experiences
a more reassuring ecstasy of safety and peace.

The best way to appreciate Dante is to lay hold
upon an edition where, as in Dent’s ‘Temple Classics,’
a literal prose translation is placed opposite the text.
Incidentally we must submit that it is well worth it —
however unscholarly we are - to learn at least enough
Greek and Latin and Italian to be able to read these
old poets aloud, if it be only to ourselves.

And when it comes to reading the ‘Inferno,’ wise
indeed will the reader be who reads for imaginative
and emotional pleasure and not as a student. One has
to be a student in youth in order to get the clue to
culture. But the perpetual student is seldom a culti¬
vated person. Slide lightly, therefore, over the historical
allusions. Dodge the theological problems. Fight
shy of such abominable passages as reveal a vein of
unmistakable sadism in the great poet. But with

69

THE MEANING OF CULTURE

these exceptions there are things that one can well
read in the ‘Inferno’ over and over again, till rarer
passages, memorized by love and repetition, come to
be like chain-armour for our human spirit against the
insolent intrusions of the vulgar present. Then it will
prove true how possible it is, by a kind of empathy or
nerve-transference, to share a great poet’s most
intimate life-illusion. For your feelings will actually
grow Dantesque in their concentration so that as you
drag your legs in weariness along your river-side or
stare at the water-flies in the ditch by the tow-path, or
tilt your head back to gaze at the flying swallows, you
will actually come to share that curious realistic aware¬
ness of the stark physiognomy of life which it is this
poet’s especial gift to express.

It seems sometimes as if it were very rare to find a
person who reads Shakespeare for his poetry alone.
And yet this, surely, is the one thing needful. The
saturation of ourselves with this Shakespearian poetry,
with this peculiar style, will be found to imply, just
as in the case of Homer and Dante, a gradual approxi¬
mation of our own personal vision of life to that of the
poet. For Shakespeare’s religion of life lurks in every
word of this style of his and dyes it in woof and grain,
through and through. It is the fragrance of dairy-field
cowslips mingled with the wild salt airs from the
tossing sea, that gives to the dewy pastures of Shake¬
speare’s poetry a spiritual philosophy of their own, by
which a person could wisely live, and beget or conceive
children, and deal with the affairs of the world.

70

CULTURE AND POETRY

It is often possible, in reading an original but un¬
self-critical poet like Wordsworth, to disregard his
conscious and intended teaching, and to appropriate
his unconscious art of life. Incidentally and between
the lines, one can draw from Wordsworth himself a
most subtle and liberating art of living entirely by
physical sensation; not so much by the sensations of
gross sensuality as by those more delicate sensations
which seem to come and go upon the wind, and which
may be summed up in Wordsworth’s own line, ‘the
pleasure which there is in life itself.’

In this whole matter of the secret enrichment of life
by the use of poetry it surely must be allowed that there
is much more satisfaction to be got from feeling the
stream of life after the manner, say, of William Blake
or of Matthew Arnold, than from merely enjoying the
rounded perfection of some particular lyric or sonnet
whose especial fantasy may delight us.

To return therefore to the definition of the subject
with which this chapter began, I hope I have convinced
my reader that the difference between what we call
beauty, this revelation of a non-human absolute, and
what we call poetry, this revelation of an accumulated
human tradition of certain primitive reactions to life,
is something that indicates a wide gulf between what
one’s culture draws from the aesthetic and what it
draws from the poetical.

One can easily visualize, for example, some Japanese
picture of an aeroplane, or an airship, or a war-ship,
or an iron girder, or a locomotive, or a factory-chimney,

7i

THE MEANING OF CULTURE

or an automobile, that might express the very quintes¬
sence of this mysterious Beauty, and yet remain totally
unpoetical; remain shocking and outraging, in fact, to
the poetic in us.

But compare with this the peculiar atmosphere of
the poetry of Keats. One instinctively feels that its
basic appeal is essentially poetical rather than aesthetic.
That is why one can enjoy to the full fragments and
morsels of Keat’s poetry such as occur, like wild-
flowers dropped on a footpath, in the midst of so much
that is littered and pointless and puerile.

One’s culture must do what it can to get the inner¬
most thrill out of both these things; but it would seem
that while the purely aesthetic revelation manifests
itself, so to speak, in isolated units, the poetical
revelation has the power of spreading itself out through
the enormous pell-mell of the world’s life. In fact the
whole turbid stream of Nature, in its wild oceanic
ensemble , can be apprehended as poetry; while such
vastness must remain inherently intractable and chaotic
to the more mathematical aesthetic sense.

But to conclude and sum up. The profoundest gift
of the spirit of poetry to a person’s secret culture is
the gift of peace. Poetry can reconcile a man or a
woman to the simplest and barest worldly situation.
As long as the forlornest patches of earth and sky are
left to us to be enjoyed by the mind we can feel our¬
selves into the mood of Achilles crying aloud to Thetis
or of Prometheus defying the wide heaven. Between
the shutters of the most sordid attic the Holy Grail

7 *

CULTURE AND POETRY

itself can be seen, traversing the sky, between chimney
and chimney! Where a few blades of grass can grow
in the wretchedest yard, there the immortal spirits of
Dante’s limbo welcome their last proud initiate.
Under a luminous poetic light that falls where it wills
all the simple recurrent details of our days gather an
amplitude and a mystic significance. Birth and death,
food and fire, sleep and waking, the motions of the
winds, the cycles of the stars, the budding and falling
of the leaves, the ebbing and flowing of the tides — all
these things have, for thousands of years, created an
accumulated tradition of human feeling; and what
culture appropriates from the art of poetry is the power
to realize this tradition, to realize it ever more reverent¬
ly and ever more obstinately 1

73

CHAPTER IV

•CULTURE AND
POINTING

If it were impossible to be a reasonably cultured
human being without an intimate and technical know¬
ledge of the difficult art of painting, few indeed would
be able to claim such a title. But just as a vast number
of intelligent people enrich their lives by reading books
without the least notion of the technical subtleties of
writing, so with this also. It must therefore be under¬
stood at the start that what the present writer is aiming
at in this chapter is not any attempt to deal with the
technicalities of light and shadow, planes and surfaces,
perspective and pigments, but rather with certain
philosophical generalizations that apply to what has
been, and apparently always must be, the response
of the greater number of people in the world to what
this art can do by means of these technical devices
in enlarging the scope and sharpening the edge of
human awareness in the presence of the whole mysteri¬
ous spectacle.

The difference between a cultured and an uncultured
reaction to any picture remains, from this point of view,
merely a matter of a greater or less degree of sensitivity.
Apart from a very small minority of professional
artists and professional critics, we are all laymen in

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CULTURE AND PAINTING

these things. The hope which those of us entertain
who desire to thicken out our normal human conscious¬
ness by something that goes a little deeper, is not to
become professional technicians in the problems of
applying pigment to canvas, but to learn something
through the medium of the artist's success in such
application, of that subtler vision of his which can see
in Nature and reality an inner truth peculiar to himself.

Whether this individual inner truth, or perhaps
one ought rather to say this purged and exclusive truth,
for its essence is more often a glow, a bloom, a dew
upon the surface of things than any underlying secret,
can be said to exist independently of the artist who
discovers it, is a question that admits a wide solution.
Probably such an aper^u contains both elements;
namely the mind that observes and imagines, and the
objective mystery that is observed and imagined.

It is just here that an answer can be found for those
who are tempted to disparage the art of painting, on
the ground that they ‘can enjoy Nature for themselves’
while what poetry and music give them they could
never enjoy for themselves - and the answer is this.
There are countless sensations and impressions that
reach us from Nature mounting up sometimes,
accumulating and gathering, till they attain moments
of mysterious completeness such as could never be
caught or expressed by any audible sound or by any
written word. And yet they are full, in their fleeting
impact upon us, of a revelation that we long to arrest
and eternalize in some palpable symbol. It is true

75

THE MEANING OF CULTURE

that painting deals with our mere physical sensations
in the presence of Nature, whereas music carries us
into the fourth dimension of ideal, bodiless beauty, and
words into the realm of ideas. But when one considers
that the most intense and overpowering sensations we
receive on earth are bodily ones, does it not seem a mad
wilfulness to deny to direct sense-impressions, whether
crude or subtle, that right to be gathered up into
universal symbols such as is already possessed by words,
as counters for thoughts, and by musical notes, as
counters for disembodied mathematical beauty?

Why should there not be Platonic essences, of the
rarest and loveliest kind, to be found emanating from
the shapes and colours of things and the textures of
things and the lights and shadows of things? If the
pursuit of culture is an attempt to enlarge the bound¬
aries of our individual perception of the universe by
the visions of genius, the genius of the painter is as
indispensable a revelation of new regions as that of
the poet or the musician; and though it will be for ever
impossible to all save artists to appreciate the actual
accomplishment in any particular picture from the
point of view of the difficulties overcome, and the new
contributions in technical and mathematical mastery
of form and colour, it would be a foolish ignoring of
the past experiences of the human race itself to relegate
this lay appreciation of what painting reveals to us to
an insignificant and negligible backwater of the subject.

Rembrandt will remain Rembrandt (as Beethoven
will remain Beethoven) not because the human race

76

CULTURE AND PAINTING

will ever know by what legerdemain he overcame the
difficulties of his medium (this we must leave to future
C^zannes or Picassos who study his canvases) but
because of the grandeur and originality of his peculiar
response to Nature and to the mathematical patterns
and rhythms involved in Nature.

To cut down in contemptuous arrogance, as certain
artists and art-critics do, upon every human pleasure
taken in a picture that is not the pleasure of a craftsman,
is to miss the one culminating sensation, for the sake
of which all this subtle craftsmanship was stretched
to so fine a point.

Some of the profoundest realizations that have ever
come to human beings in life - with regard to the
nature of things and the mystery of things - have more
in common with painting than with literature because
the form they are compelled to take is a series of
atmospheres and images rather than of sounds or of
connotations of rational thought. A water-colour
sketch, for instance, of Albert Dtirer, representing
a road into Nuremberg in the early sixteenth century,
has more power of evoking the fine edge of human
consciousness at that epoch than any poem of
Ronsard’s, shall we say, however deftly written.

It is all very well for painters to emphasize their
desire to be accepted only in the limited sphere of their
purely technical achievements. The medium they use
is after all no less universal than that of language, since
the visual apprehension of the surfaces of things in
Nature is common to all. Even when the more

77

THE MEANING OF CULTURE

extreme among modern artists choose to abandon the
ordinary appearances of life, as they are recognized
by the normal human vision, for certain recondite
aspects disentangled from the rest by a de-emotion-
alized curiosity, it is still our affair to follow their
lead in this as far as we can and to learn from them a
new response to Nature from a fresh and original slant,
a slant that boldly carries our common consciousness
one or two steps further, in the recognition of reality
hitherto unrevealed.

When one comes to approach the very practical
question as to how it is wisest, in our ordinary life, to
enjoy pictures, one finds oneself confronted by the
too familiar experience that this particular art has come
to be associated for most of us with extreme physical
exhaustion. Most of the attempts we overburdened
mortals make to deepen and intensify our stream of
consciousness are liable to be attended by physical
or mental weariness. But without doubt visits to
picture galleries tend to be more tiring, both to
mind and body, than any other cultural efforts that
one could possibly make. This is because one is tempt¬
ed to see far too much in a given space of time. One
roomful of pictures, whether they be old or new, is
about all a person of ordinary intelligence has the
strength to assimilate at one time. Even the enjoy¬
ment of this one roomful should imply at least an
hour’s time spent in a sitting posture. It is indeed a
scandalous neglect on the part of the authorities when
a gallery, showing any collection of pictures, is devoid

78

CULTURE AND PAINTING

of seats. One ought to be able to take one’s leisure
among pictures; just as, in the presence of beautiful
scenery, one leans over a gate, lies down on a bank,
or sits upon a rock.

The difficulty of ‘too much’ dealt with, there arises
the annoyance of artistic guides. Such people want to
make plain to any young person, who shows the least
interest in the contents of a picture-gallery, all the
orthodox modern doctrines about ‘significant form’ and
the unimportance of subject matter. It would seem,
however, that when once this art is adjusted to one’s
general personal scheme of life we must be drastic in
our flat refusal to suppress all human, all psychological,
all poetical delight in what we see. It certainly seems
to be sheer fanaticism to try to suppress our imaginative
enjoyment of a picture because it contains rhythmic
patterns. If we have learnt the technicalities, well and
good. The pure pleasure we shall get from the thing
will be an hundredfold enhanced. But even then, no
knowledge of the technical difficulties, or of the art of
overcoming them, ought to dehumanize us to such a
tune as to make us indifferent to the other elements of
beauty that the picture may suggest. Some faint touch
of human imagination or feeling will, as a matter of
fact, be found adhering, in spite of all they can do, to
any arrangement of pure lines and colours.

One thing we may be certain of. Art is too
spontaneous, too inevitable a product of the mind to
be narrowed down for ever to any set of drastic princi¬
ples enunciated in a single decade. Poor enough would

79

THE MEANING OF CULTURE

be the value of culture to us if it didn’t help us, from
the vantage-ground of an appreciation of values of
beauty that have become demoded, to take all this
modern dogmatism and derision with a Chesterfieldian
pinch of snuff.

The preferences implicit here will appear in stronger
relief for those who are prepared to accept the doctrine
— which, of course, is a philosophical or literary doctrine
rather than an artistic or scientific one — that the
pictures which have the richest value for us are those
which enable us to see for ourselves in Nature and to
select for ourselves out of Nature the kind of chance-
arranged groupings of objects which bear that imagin¬
ative light upon them which is congruous with the
spontaneous craving of personal instincts. One
wonders how many among the readers of this page
have come to share the writer’s predilection, for
instance, for Hobbema and Ruysdael. Prolific of
just this sort of natural selectiveness may the genius
of these two painters prove to be; and moreover few
galleries will be found lacking in some specimens of
their work. From these ‘branch-charmed’ avenues of
monumental trees - avenues leading, surely, to Virgil-
ian realms of Saturn - hints and glimpses can be
absorbed such as have the power to gather into a
concentrated mental perspective the vague earth-
memories of half a life-time. From the mossy purlieus
of these century-old water-mills, where, in the luminous
foreground the flying spray touches some fallen trunk
or rests for a minute upon some lichen-grown rock,

80

CULTURE AND PAINTING

fragments and morsels of forgotten impressions will
coalesce, like broken bits of a mental mirror, and all
manner of sideway thrills of ecstasy — scattered here
and there throughout the years - will blend into a
magical unity.

Culture is of little use to us if it does not liberate us,
in one grand stroke of what might be called positive as
distinct from negative criticism, from those aesthetic
rigidities which - and they are for ever changing and
contradicting one another - would forbid us with
hypnotic authority to enjoy such natural human re¬
actions.

It is indeed the cultured person alone who has
enough scepticism and enough of the light touch to
remain ironical and slippery amid the furious dictator¬
ships of aesthetic fashion. Of course one knows only
too well that by the fatal tendency of the excess of the
best to prove the worst, there is a type of human mind
that is a disgusting parody of the really cultured type;
and that this sham culture and pseudo-gentility do
untold harm to the Quixotic art-fanaticism of the
young. This is the worldly person’s real indifference
to the whole subject; and most pitiable is it when
because of a superficial acquaintance with the verbiage
of art-chatter, such a person is clever enough to throw
cold water upon the heroic faith of youth in the import¬
ance of the issues at stake.

The fanatical prejudices of the most violent
innovator are of course infinitely preferable to this,
for in things of art, as in things of religion, one cannot

81

THE MEANING OF CULTURE

advance a step without something of the simplicity of
a child.

Take, for instance, Ruskin’s truth-to-Nature icono-
clasm. How ill-considered was his attack upon
Poussin and Claude! How irrelevant and ridiculous
his quarrel with Whistler! Most cultured minds in
those days, one feels sure, would have had enough
ironic detachment to be sympathetic with Ruskin,
while at the same time they recognized the basic
limitations of this tragic man’s furious error.

Claude is indeed one of the most suggestive of all
painters from the point of view implied in the present
writer’s argument. The particular enchantment of
that look of crowded mast-heads in a misty harbour;
the peculiar effect of bowsprits and rigging and
pennons and high-raised decks swimming in the golden
haze of late summer afternoons and mingled so grandly
with towering buildings and vast air-spaces — these
are, in reality, what might be called eternal symbols of
transitory sensations.

It is the same with Poussin. The majestic brownish-
green foliage that extends above the altars of his
sacred groves, tinged, as if with a rusty moss, by that
particular twilight which Spengler selected as his
innermost symbol of our Faustian soul, is not the pure
art-quality of all this touched by something else? And
is not this something else the one thing needful, both
for the cultured and uncultured? These lovely pastoral
men and sweet Artemis-like maidens, these goat-foot
amorists and purple-stained winebibbers, this sun-

82

• CULTURE AND PAINTING

burnt mirth, these elderberry libations, appeal to the
poetry in us as well as to the craftman’s eye. Why,
not one of Ovid’s wildest Metamorphoses but might
suddenly happen in this rich moss-brown world! In
the midst of the brazen Megalopolis one catches the
poignance, like delicious dew, of life’s sweetness and
brevity, from a mere glance at these pictures.

But there are levels in the art of painting far higher
and deeper than any of these. A person could organize
his whole life, philosophically, morally, imaginatively,
by saturating himself with the work of only half a
dozen great painters. Take Rembrandt alone. How
deeply could anyone enrich his most secret reactions
to life’s occult panorama by brooding long and long
upon the sombre reticences of human character
revealed in this great psychologue’s work! By the
lights and shadows of firelight and candlelight and
by a treatment of sunshine that gives to the far lumin¬
ary of our world the concentrated earth-caught
Promethean intensity of man-made flame, Rembrandt
reveals the pride and the humility of a thousand
individual souls.

But Spain is the land from which springs the art
where the absolute of beauty scattered in relative
glimpses, here and there throughout the world, comes
nearest to taking upon its inmost essence the accidents
of colour and shape. A sensitive intelligence of another
race could give itself up to at least three aspects of this
divine essence by approaching the pictures of
Velazquez, El Greco and Goya. The dignity of Homo

83

THE MEANING OF CULTURE

sapiens , his natural postures, his simplest gestures, his
relaxed enjoyment of the sensual feeling of his own
personality, his sublime consciousness, be he king or
beggar, of the particular raiment, lousy rags or Golden
Fleece, by which he covers his nakedness, the way he
looks out upon the observer from the canvas-life
itself grown conscious of its incredible depths, Being
itself grown conscious of being Being —all this and
more Velazquez alone, by a kind of sophisticated
simplification of the mere ritual of being alive, expresses
with the very seal of finality.

And if the body of man, together with the symbolic
ritual of the body’s raiment, finds the apogee of its
expressiveness in these haughty blacks and whites,
these reserved splashes of rose-carmine, these swart
backgrounds, such as attend like well-drilled slaves
upon the fatal dreaminess of flesh and blood, no less
does the soul of man find its culminating expression
in the ecstasies of El Greco. Wildly and grandly
do they whirl up in their mounting crescendo of
mystical self-forgetfulness, these holy El Greco saints I
As with the figures of Dostoievsky there is something
apocalyptic about these luminous lacerations toppling
on the verge of an unutterable threshold; but the
imaginative backgrounds that the Toledoan gives
them, racks of strange vapours, icebergs of huddled
chaos, chasms of fatality, anticipate again and again
those hosts of primordial air-shapes which William
Blake saw in the fields of London’s suburbs. The
very madness of religion leaps up like cloven pente-

H

CULTURE AND PAINTING

costal flames from the quivering fingertips of these
ecstatics. Long and thin have their hands grown from
the mere habit of desperate prayer; while the contours
of their God-intoxicated faces carry the mark of such
as have seen Eternity and have not perished.

If Velazquez embodies the furthest reach that art
can go in rendering the language of flesh and blood,
and if El Greco pursues the Beatific Vision to the point
where, as at the end of the Taradiso,’ it swoons into
Nirvana, Goya is the Aristophanes, the Sterne of the
genius of painting. Incredible cruelty, incredible
gaiety! Yes! And something that has as yet remained
unnamed; something beyond the magic of the earth,
for it is too airy; something that resembles the dew-
fresh ichor on the opening petals of young flowers, a
radiant texture-bloom, only drawn out of things when
the amount and the place are propitious, puts this man
apart from all others, making him, medium of terror
as he is sometimes, a very diaphaneity of fleeting grace.

Considering these Spaniards, the folly of confining
your pleasure in painting to anything short of a new
vision of reality is made evident. And it seems as if
for any picture really to sink into your imagination —
so that in your secret thoughts you use the painter’s
very eyes and with your secret senses his very senses —
it is necessary to carry the feeling of the picture away
with you when you have left the gallery; necessary to
carry it into your house, your shop, your bedroom.
I will go so far as to say it is necessary to mix it with
your food and with your drink; to mix it with those

85

THE MEANING OF CULTURE

moments before sleeping and after waking when the
mind is most virginal and receptive; to mix it with
your most hurried and casual glimpses of things and
with the images of your memory of things.

We all derive a mysterious satisfaction from certain
predetermined formalities of design, parallel with the
basic harmonies in music. Why it should be so we
cannot tell, unless it is our response to something in
Nature that corresponds to our own mental and phy¬
sical elements. But even in the most ill-adjusted
existence Nature will be found sometimes to satisfy
this craving. Upon some hilltop the trees mass them¬
selves in a certain way as we watch the scenery through
a train window, or we catch a glimpse of a group of
straw-stacks huddled at the corner of a field; and we
respond to an organized harmony in this chance-thrown
pattern of light and shade and find that it answers some
secret need of our natures with startling reciprocity.

But in the greatest pictures this instinct in us which
inevitably reacts to formal pattern finds its comfort
in this abstract design heightened by something else.
This something seems to be an irreducible, ultimate
quality, evoked by the original imagination of the
artist, working upon the structural mysteries of the
universe. By this I mean that the absolute of beauty
revealed by genius, through these mathematically
organized harmonies, is free from that dark knot of
human issues with which our ordinary emotions are
entangled. In other words it is an unemotional, dis¬
passionate response to beauty - beauty in its absolute

86

CULTURE AND PAINTING

being — and is thus safe from the dangers and depre¬
dations which attend those of our emotions which
belong to the world of passion and desire, of joy and
sorrow. But the response he induces in us to this
revelation of the absolute is not merely an intellectual
or abstract response; it satisfies a deep long-buried
craving in us to feel a certain kind of ecstasy, like the
ecstasy of the saints, which can obliterate the old shadow
of distress which mingles with all earthly consciousness.

As we contemplate the delicate backgrounds of the
pictures of many Italian Primitives, as we follow certain
umbrageous perspectives in the landscapes of Gains¬
borough, a light seems to fall upon the threshold of our
minds which absolves us from the turbulent dualities
of existence, from good and evil, from hope and
despair, from love and hate, yes! even from the last
alternation of life and death. This is the miracle that
those pictures work for us which come with that fresh
immortal dew upon them, as of imperishably recurrent
youth, such as it is not in the power of this pestilential
world to fever or parch.

This is what the art of painting offers; though it
may be by no means always that the miracle occurs.
By no means always 1 For alas! As Proust so skilfully
indicates in his elaborate way, the eternal being within
our mortal ego must have its own peculiar food to
feed upon; and this requires not only the inspired genius
in the picture but some unpredictable chance of mood
and hour and atmosphere working upon ourselves as
we stand before it.

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THE MEANING OF CULTURE

Painting is irrevocably intertwined with all those
vague, half-sensual, half-mystical feelings that make
up the accumulated burden of the interior ego, its
second or spiritual body. And just because it is
mingled with such ingredients it must of necessity
be immeasurably varied in its appeal to differently
constituted temperaments.

For that rare elusive loveliness in the world, those
glimpses and touches of something that, as Pater says,
‘exists around us in a small measure or not at all/ we
must go, those of us who are secret amorists, as it
were, of this strange quality, to certain delicately
sensuous pictures of Giorgione, or to those long-
laboured-over, equivocal revelations of Leonardo's
superhuman art and thaumaturgic science.

Touched by a less enigmatic inspiration and seduc¬
ing us to a less ambiguous curiosity, the art of Watteau
too has something of this unearthly strangeness. It
is indeed a wistful nostalgia, an intimation of pleasures
too rare for earth that we catch in such a picture as the
‘Embarkation for Cythera,' a picture that might well
send many a hurried visitor to the Louvre wandering
slowly off along the Rive Gauche in a Cimmerian mist
of enchanted melancholy!

A modern artist who has the power of opening up
such vistas is Marie Laurencin with her capricious
wild-hare-eyed demoiselles, in their shell-pink scarves,
dreaming like so many Ladies of Shalott amid their
green and more than springtime leafage. And although
it is a saddening commentary upon the degeneration

88

CULTURE AND PAINTING

of our milieu, from an aesthetic point of view, to descend
from that winding river among the mystic rocks which
was Leonardo’s favourite symbol to the prairie
shanties and forlorn Middle Western backyards
painted by Burchfield, one feels that, even here, the
power to cast over such tatterdemalion, meaningless
boardings and planks, peeled and blistered by the
extremities of American weather, an imaginative
significance is also in its own place and time a heighten¬
ing of the ordinary spectacle of things by an aesthetic
inspiration. The young Swedish painter of Santa F 6 y
Raymond Jonson, is another modern whose work has
an arresting element in it which can touch, so to
speak, the nerves of the imagination with a tremor of
that excitement which only genius gives.

It would seem indeed a kind of treachery to the
world-spirit to allow our response to beauty to stop
once for all and anchor itself by the well-worn wharves
of the Old Masters.

It is not only in his Watteauesque world of magical
fantasy that the Daedalian genius of painting makes
our hearts stir and move like leaves in the wind.
However difficult it may be for a nature moulded upon
the old-fashioned notions to respond with a really
spontaneous integrity to many modern experiments,
it seems that the historic sense itself should forbid
our expressing our distaste with the gross facetiousness
of a ponderous conservatism which can only march
in the old grooves. The extreme schools of recent
painting have indeed very decisively snatched a place

89

THE MEANING OF CULTURE

for themselves in that wild Macedonian phalanx of
modernity, whereof the glittering point of attack is the
orgiastic dance; and, behind the dance, the sullen
beating of tom-toms and wild brass of trombones.
All these extreme modernities have a profound sym¬
bolic value. It is as stupid to disregard this value as
it is silly to pretend to understand it. It is Nature.
After their mad fashion these things are true. And why
should not they have as much right to imitate the
universe’s obscene and monstrous gestures as her gentle
and modest ones? No, they are not contrary to reality.
With all their squares and splashes and scrawls and
protrusions and dust-storms and wind-spirals, they
represent a certain chaos in things which is one of
Nature’s own chemical secrets. The filigrees and
arabesques of certain organic trails, the rhythmic
patterns of earth-worms, for example, traced in wet
mud, are an aspect of this, and the reckless movements
of infusoria and amoeba in any drop of microscopic
pond-water and the murky, entangled shadows thrown
by the moon in some deep wood-side ditch. There are
aspects of Nature, the formation of rock crystals, the
gambols of seals and walruses, the mathematical
kaleidoscopes in the contours of floating frog-spawn,
the bloodied scales of a staring market-fish, the dis¬
tended flanks of the acrobat hanging head downwards
in the circus, which seem to have been left by destiny
especially for these artists.

The art of painting has of course first and last to do
with colour; and colour remains, and always will

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CULTURE AND PAINTING

remain, the great mother’s inmost expression flickering
across her mysterious face. The cold and the warm,
the moist and the dry, the soft and the hard, all the
various aspects of her occult chemistry are palpably
felt, as if they were revelations of endless psychic
moods, as one stands before the best of these modern
experiments.

We have to recognize the fact that although the
individual painters of our day cannot be compared in
sheer creative genius with the great masters of the
past, there is among them a movement onwards, a
movement into hitherto untried, untraversed margins
of beauty, which runs parallel to the new departures,
equally difficult for untrained minds to follow, in the
art of music. A really cultured nature, however
temperamentally old-fashioned, will not be found
drawing back in sullen bigotry from these new things.
It would indeed seem as if the preservation of a No
Man’s Land of intense and humble receptiveness is
as much a part of any authentic culture as is a non-
committed, ironic detachment from the vulgarities of
fashion. One must be prepared to take certain aesthe¬
tic risks, and to make certain imaginative plunges into
the new and the unknown, if one’s taste is to expand
and grow with the spontaneity of an organic nucleus
of life.

‘ The invasion of literature by the rhythmic and
plastic arts is paralleled by a simultaneous invasion of
Art itself by what might be called the psychic aura of
modern machinery and inventions. Greek art found

9*

THE MEANING OF CULTURE

the centre of its aesthetic preoccupation in the human
body, primitive Christian art in the human spirit,
romantic nineteenth-century art in the magic of Nature.
Modern art has discovered a completely new element
for its exploitation, namely the purely mathematical
and chemical structure of matter itself. Nor is it only
the logic, so to speak, of matter, in such of its move¬
ments and sequences as science can reduce to mechani¬
cal systems - or at least to mechanical hypotheses -
that modern art exploits. Some of the most arresting
and startling aesthetic effects which we have recently
observed seem to spring from a mysterious backwash,
rather behind than within the known cosmos, which
suggests nothing less than that old ghastly ‘prae-life*
which the human race has shrunk from so long under
the name of chaos.

It is indeed very significant that there should exist
side by side in modern art both these extreme tenden¬
cies; the tendency to undeviating dynamics, as in the
behaviour of magnetism and electricity, of iron and
stone, of steam and steel; and the tendency to lawless
almost psychic discord, such as seems to spout up
with spasmodic fury from some vein of wilful arbi¬
trariness in the nature of the universe itself.

Music and its newer instruments have, as I have
already hinted, conspired with modern painting to
invade those sacred groves formerly monopolized by
literature. And there is yet another influence at work;
for behind both music and painting one seems aware,
in these days, of the occult pressure of a strange

9 2

CULTURE AND PAINTING

rhythmic force which is connected both with revolu¬
tionary political upheavals and subterranean class
warfares, and with that revolt of youth against every¬
thing that holds it in check which takes sometimes the
form of reaction and sometimes of revolution.

It is undeniable too, that the continent of Africa has
begun to play an increasing cultural role in the heart
of those blind emotional impulses that underlie our
imaginative and aesthetic life.

In fine, one is conscious of a strange thudding,
pulsing, rumbling movement, deep down in the nature
of all modern art, which seems to resemble the distant
approach, heard through the medium of the Einstein-
ian space-time, of a new cosmic religion. Spengler
regards all these modern eccentricities as negligible
by-products of an age of iron and steel. But is it not
within the bounds of possibility that they represent,
not the degeneration of a jaded and outworn civiliza¬
tion, but the rough, hard, crude, violent beginnings of
a culture different from anything that the world has
ever seen before?

93

CHAPTER V

CULTURE AND
RELIGION

It is particularly difficult to analyse the relations
between any intensive culture of one’s ego and what
is usually called religion because, under certain con¬
ditions, culture actually becomes a substitute for
religion. By this I mean that any authentic culture
exercises many of those mental and emotional activities
usually the monopoly of religion.

Certainly it may be said that, if culture can be
sometimes a substitute for religion, any beautiful and
nobly rounded-off practice of religion renders culture
irrelevant. Religion in its most flexible form does for
us, in fact, precisely what culture does; and if we have
been given a comprehensive and imaginative faith it
does it far better. By this I mean that it would be
absurd to besiege with the importunate propaganda
of our culture-doctrines the personality of an individual
whose whole being was already irradiated with the
inward glow of a faith that heightened and quickened
every pulse of life.

The whole purpose and end of culture is a thrilling
happiness of a particular sort - of the sort, in fact, that
is caused by a response to life made by a harmony of

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CULTURE AND RELIGION

the intellect, the imagination, and the senses. If such
a response is evoked by religion, where is the need of
culture?

What we are here defining, therefore, as the true
nature of culture is nothing less than a substitute for
religion, where the absence of faith, in a modern
person’s being, has rendered religion unattainable.

But granting that the noblest type of religious
character is already in possession of the grand clue to
the situation, it is obvious that the ideally cultured
man will find himself living cheek by jowl with many
Varieties of religious experience’ that are not by any
means ‘ideal’1 The problem therefore arises as to
how such a person can most advantageously deal with
religion, this exciting but very imperfect phenomenon
with which he must be constantly in contact and very
often in conflict.

He will find, it seems, that since religion arid his
own secret orientation of life run, in many places, on
parallel lines, wrestling with the same difficulties,
resolving the same riddles, encountering the same
obstacles, there will be many moments when he can
make most fruitful and suggestive use of this sister-
cult. There will be many others, however, where he
has to defend himself from it by every weapon at his
disposal.

If, as is probable among most of the readers of this
book, our culture-neophyte’s abode be in an English-
speaking community, he will find himself confronted
by two main types of religion, the modernistic type

95

THE MEANING OF CULTURE

and the orthodox type. It will be necessary for him to
disentangle these two presences from each other and
gather up his forces to cope with each of them upon
its own separate ground.

What he can get, as grist for his particular mill,
from the modernistic form of religion in these days, is,
it must be confessed, very little indeed. He can, in
fact, get nothing at all from it unless it happens that
his culture has been of a barbarously egoistical kind
so deficient in simple kindness that emotional appeals
to his conscience, indicating the character of the man
Jesus as an example of tenderness, shall trouble his
complacency and make him more considerate.

But from orthodoxy, or, as it has come to be called
in America, fundamentalism, there are many and
profoundly interesting stimuli to be derived. Taking
the anti-Roman kind of orthodoxy first — for I will call
it ‘anti-Roman' rather than Protestant because I am
anxious to include in what follows the Greek churches,
the Church of England, and such Evangelical com¬
munities all over the world as retain their belief in the
Divinity of Christ - it must be allowed, I think, that
this faith in Jesus, as a supernatural Being possessed
of the supreme clue to the nature of the Absolute,
contains something so startling and so beautiful in its
mystical appeal that to treat it with unsympathetic
distaste or with brusque, dogmatic denial, is to be
traitor to that open-minded, sceptical suspension of
judgment which is the fresh air of the intellect.

But granting that there is no rational standpoint
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CULTURE AND RELIGION

from which it can be proved, as self-evident and
irrefutable, that the Divinity of Christ is true, the
question arises, what can our culture make of such an
idea without sacrificing its integral self-respect, that
is to say without giving up its suspicion that the
Divinity of Christ is untrue?

What we have to eliminate just here is the popular
literary notion that the dogmas of the Church are
negligible but that its ritual and poetry are supremely
important. If we have any psychological insight at all
we must have the wit to see that this ritual and this
poetry ultimately depend upon someone somewhere
having faith in the importance of the dogma. These
faithful ones may be very few in number, but it is their
faith in the truth of the doctrine, and not any vague
emotional feelings that we may have as to the beauty
of the doctrine, that keeps the thing alive. So powerful
indeed is such faith that it is possible for half-believers
and aesthetic sympathizers to nourish their imagination
in the presence of the ritual and poetry long after the
people with faith are dead. But not indefinitely. That,
alas, is certain. We cannot indefinitely exploit the
faith of the past. It is necessary, after a certain passage
of years, to know that a nucleus of believers still
exists, else the sap and pith of the whole matter will
dry up.

And more than this. It is not, even for genuine
sceptics — that is to say for persons who really remain
in utrumque paratus> ‘prepared for either event* - the
mere beauty and poetry of a religious cult that fill the

d 97

THE MEANING OF CULTURE

gap in their lives. It is their abiding consciousness that
there may be something, some as yet unrealized and
unrealizable truth, in the great dogmas behind the
ritual, which pierces to the heart of things. It all de¬
pends upon what a person means by his response to
what he calls the beauty of religion. If he means a
merely aesthetic response such a response would
apply equally well, or nearly as well, to all the human
mythologies. The imagination is stirred by ancient
Greek myths, by Celtic and Scandinavian folklore;
but one responds to these, unless one is a poet with the
genius of John Keats, in a manner very different from
the way one responds to the idea of the Divinity of
Christ. It is doubtful whether Keats himself even
dreamed that there was a living supernatural Being,
even corresponding to Apollo or Artemis or Hermes;
but there are few Western minds — though we are
forced to admit that there are some - who do not feel
stirred in a peculiar and quite especial way by any
allusion to the figure of Christ. This imaginative
disturbance does not, I think, accompany the idea of
the man Jesus considered simply as an example of a
beautiful, a perfect life. It is Christ, not Jesus, who
excites it. And it is Christ, considered not as a su¬
premely good man, but as a supernatural Being, a living
magician, a veritable God, who creates this vibration
in our nerves. He does this for all imaginative people,
whether religious or not, because He has actually
become the God of the West and has come to contain,
in the substance of His Figure, the passionate, and it

98

CULTURE AND RELIGION

may well be the thaumaturgic, power of centuries of
desperate willing and waiting and praying.

Modernistic rhetoric, celebrating the power of love
apart from the magical element in the universe which
so many still feel to be incarnated in Christ, falls as
ineffectively upon the ears as any other merely ethical
discourse. The inner life of the ego, as it half-con-
sciously, half-unconsciously builds up its system of
culture, craves, among its other responses, some
response to the miraculous and supernatural. This, of
course, does not imply any unyielding assurance that
these things exist. It only implies that the organic
totality of our nature must always reveal, or wilfully
conceal, an instinctive longing for these things.

Granting, therefore, that our culture will have some¬
thing harsh, unnatural, secular, bigoted about it if it
does not allow — hesitatingly and reluctantly, but still
allow-at least one mental window open to the pos¬
sibility of the supernatural, the question follows, what
precisely will it gain from thus so obstinately keeping
clear and clean this mystic aperture in its fortress-
wall?

It will be a help in answering this question to
enumerate some among the great men of genius who
have made use of the Evangelical faith in the heart of
their own innermost life. These men were laymen.
These men were outsiders. They were, in the common
acceptance of that word, sceptics; but the central
magnetic fire of their being fed its flame upon what it
drew from the startling dogma of the Incarnation,

99

THE MEANING OF CULTURE

It is not necessary just here to mention more than
two names. These are William Blake and Dostoievsky.
Both these great men were anti-Romanists. The
Christ who inspired them was not the Christ of the
Roman Apostolic Church, but the Christ of the
Evangelical heretics and schismatics. And in the
writings of both there is much to help us in under¬
standing exactly what it is that the art of culture can
appropriate to itself from the Evangelical faith.

It is in three characters among his creations that
Dostoievsky embodies his strange notion of the
mystical power of Love, interpreting it from that
unearthly Magian, Byzantine slant of his, which
Spengler feels to be something altogether new in the
world, something as yet not understood, and belonging,
perhaps, to a fresh, psychic flowering of the human
spirit. This Gnostic oracle of ‘the prophetic soul of
the world, dreaming on things to come/ is embodied
in the girl Sonia in ‘Crime and Punishment/ in the
figure of Prince Myshkin in ‘The Idiot/ and in the
personality of Alyosha in ‘The Brothers Karamazov/
It must be remembered that the essence of Dostoiev¬
sky’s genius lies in the struggle that went on ceaselessly
in his own soul between his faith in the ‘God-Man’
and his doubt as to the existence of God. Dostoievsky,
for all his frantic wrestling with hideous distress, was
a cultured man in the profoundest sense of that word;
|was in fact a man who junderstood that the secret of
xulfm^ ^toTiaYe^ knowledge^oT'fetetive values in
this world/ ThuTTftesestartlin 5 TunfSTasTtf) the nature

ioo

CULTURE AND RELIGION

of love which are scattered through his writings remain
the passionate obeisance of a formidable, sceptical
intellect before a supernatural visitant.

This, for instance, is what Alyosha felt when the
premature decomposition of his Elder’s bpdy had been
forgotten in the ecstasy caused by the dead man’s
spiritual presence:

‘The white towers of the cathedral gleamed out . . .
the silence of the earth seemed to melt into the silence
of the heavens . . . Alyosha stood, gazed, and sud¬
denly threw himself down on the earth. He did not
know why he embraced it. He could not have told
why he longed so irresistibly to kiss it, to kiss it all.
But he kissed it, weeping, sobbing, and watering it
with his tears ... he longed to forgive everyone,
and for everything, and to beg forgiveness. Oh, not
for himself, but for all men, for all and for every¬
thing . . . but with every instant he felt clearly, and
as it were tangibly, that something firm and unshak¬
able as that vault of heaven had entered into his
soul . . . “Someone visited my soul in that hour,”
he used to say afterwards.’

It is in passages like this that the scepticism of the
cultured encounters the movement, like the flight in
the night of a dark meteorite, of something that inter¬
rupts the laws of Nature.

In the poetry of William Blake, too, one can observe
the outposts of a sturdy, sceptical intellect installing
themselves upon the terrain of Evangelical religion.
Here is something that can be appropriated to its

IOI

THE MEANING OF CULTURE

own purpose by any imaginative consciousness that
has grown aware of the undercurrents of life;

4 Jesus was sitting in Moses’ chair.

They brought the trembling woman there.
Moses commands she be ston’d to death.

What was the sound of Jesus’ breath?

He laid His hand on Moses’ law;

The ancient Heavens, in silent awe,

Writ with curses from pole to pole,

All away began to roll.’

But what culture has stolen from sceptical and
secular Evangelical religion is nothing to what it has
stolen from the vaguer, looser, more mystical traditions
of ‘Natural religion.’ By Natural religion I mean that
spiritual legacy of pantheistic feelings which runs like
an underground river - every now and then spouting
forth in an up-welling spring - parallel with orthodox
dogma and drawing something both from Evangelistic
emotion and from scholastic metaphysic.

From Plato to Virgil, from Virgil to Goethe, from
Goethe to Wordsworth, from Wordsworth to Walt
Whitman, there have always been great writers whose
[personal culture has been nourished upon this pan¬
theistic tradition. Plato and Walt Whitman mingled
it with certain polytheistic tendencies of their own.

|But in Emerson’s essays one finds it in almost perfect
purity; and Matthew Arnold’s intellectual life was
saturated with it.

Not less, though in a more meticulous way, did the
aesthetic imagination of Walter Pater respond to its

102

CULTURE AND RELIGION

seductive liberation. This great tradition of natural
religion is very old. Probably in its origin it was
associated with the Orphic and Eleusinian Mysteries.
But individual philosophers, from Empedocles to
Croce, have been attracted by it; and for purposes of
individual culture it has always had the advantage of
exacting no faith in any concrete dogma.

But Evangelical religion as well as Natural religion
has proved to be a veritable reservoir of living water for
any spirit set upon acquiring a deep individual culture.

The Church of Rome in her proud, complicated,
organic growth — like a great-rooted tree whose
branches indiscriminately shelter apes, squirrels, crows,
owls and doves — has offered to the wayfarer of life¬
awareness a no less rich, dark depository of occult
experience. If one cites such figures as Dostoievsky
and Blake as clairvoyant mediums through whose
interpretations of Evangelistic faith we can approach
life from a fresh angle, one has the right to cite the
even greater name of Shakespeare as a medium for
the more complicated poetic casuistry of Catholicism.

That acceptance of life in its miraculous concreteness
which one gets in Shakespeare - organic event clothed
in its own circumstantial body of arbitrary mystery,
and everything left unrationalized, and, as you might
say, uncemented by systematized logic — is something
that has a quite definite relation to the psychic atmos¬
phere created by Catholicism. This atmosphere, so
fecund of rich imaginative values, refuses to be resolved
into the mere beauty of vestments and incense, of

103

THE MEANING OF CULTURE

Gothic architecture, Latin liturgy and thrilling music.
These have their place; but one may affirm with no
tinge of scruple that, when these are referred to as the
chief elements of what this type of religion has to
offer, the person who is speaking has hardly begun to
draw upon the historic reservoir stored up in Cathol¬
icism. What one gets from it is something far more
spiritual than any aesthetic opium. A' certain intellec¬
tual temper it is, or habitual artistry of the mind, an
antiquum organum , polished smooth by long handling.

Who can deny the power of a sorcery by which those
basic doubts and congenital fears so native to our
perplexed mortality are relegated to a limbo at the
extreme rear of the world’s stage, while symbols of
happier issues, set in their places by cunning ‘crafts¬
men of the spirit,’ are taken for granted, as if they were
a part of the very foundation of life itself?

It may seem doubtful that they are such a part. But
like some magic table, upon which our bread and wine
is served and our candles lit, the Church bears up the
weight of man’s quotidian destiny; bears it, and has
borne it so long that it seems a kind of violence to the
good breeding of the soul to ask the uncomfortable
question, how can so too-human a piece of furniture
carry the burden of the Universe?

If a violent anti-Catholic were to put to a cultured
person the direct enquiry ‘How is it that there can be
anything for culture in a despotic and persecuting
society?’ the answer, I think, would be that, while
those aspects of the Church were abhorrent to all free

104

CULTURE AND RELIGION

spirits, certain lovely qualities, both mental and
emotional, could be plucked from it, just as you might
pluck the most delicate mosses and ferns from an
ancient place of execution.

One of the most lovely evocations of this superstition,
and indeed one of the chief aspects of that sensitive
temper, reverent and sweet-natured, which Catholic
influence so often produces, is a felicitous blending
of irresponsible humour and unashamed childish
credulity. From both these things, from the relaxed
humour and from the romantic consciousness of the
magical side of truth, a person’s individual culture can
appropriate many delicate nuances.

It is certain that a cultured person will always be in
danger of the blind anger of the mob, whether that
mob be religious or irreligious. The pious mob will
rise up against him for his atheism, while the infidel
mob will stone him for his superstition.

I shall be assured by both camps, in the bitter
struggle that goes on still between faith and un-faith,
that a cultured person can get nothing from religion
unless he wholly believes, and nothing from reason
unless he wholly disbelieves. It is not true. An old
religion that has gathered up into its daily rites so
many of the hidden psychic attitudes that can under¬
mine the malignancies of fate has the power of radiating
its spiritual aura far beyond the circumference of the fold.

Here indeed, in this difficult question of the relation
'between religion and culture, we find ourselves
| compelled to face what really is the most crucial point

105

THE MEANING OF CULTURE

of our present-day human situation: the problem,
namely, as to how far it is possible to retain for in¬
dividual lives, in the midst of the breaking up of the
old traditions, those over-tones and under-tones of
character which the long discipline of the centuries,
under the scaffolding of a unified faith, has so labori¬
ously nourished.

The exponents of any genuine culture in our time
'are forced to assume a stern and delicate responsibility:
nothing less, in fact, than the building up within us
of a stoic-epicurean life-system which obstinately
refuses to be balked by the apparent impossibility
of what it has undertaken. It has undertaken, in fact,
to appropriate to itself the good of religion, while it
deliberately casts away those props and crutches of
infallible assurance upon which hitherto religion has
depended. By ‘the good * of religion is not meant
merely moral qualities and unselfish impulses; but,
on the contrary, a residuum of something at once
disturbing and illuminating, something that belongs
to that element of so-called superstition which the
secular dogmatists deride so fiercely.

The attitude which I am struggling to outline as the
true attitude of culture to religion is not at all easy to
elucidate in a few simple words. But it can be
elucidated. There is nothing loose or vague or
vaporous about it. It is a nice, delicate, exquisitely
thin line-as thin as a fine hair-and upon this thin
line, vibrant and quivering, the truly cultured mind
must learn to balance itself.

106

. CULTURE AND RELIGION

Let me attempt to make the matter clearer by a
definite example. Suppose that one saw written upon
the notice-board of an important modern church the
following inscription: ‘The Power of Jesus does not
lie in any magical or cosmic authority, but in His
natural human Love/ How would a mind, cultured
in the exacting and precise sense we are concerned
with here, react to such an announcement?

Surely it would deny this statement! Surely it
would feel that in spite of a certain sentimental and
rhetorical atmosphere about these words the whole
stress is wrongly laid. No one would have heard of
this human love if it had not been the love of a Person
regarded by the mass of men as superhuman. Nor
would this love - the love of Jesus - be able to exercise
the spell over us that it does unless it were regarded as
the love of Christ; that is to say as something different
from any other man’s love not only in degree but in
kind; unless, to put it plainly, it were regarded as
the love of a Being associated in some special and
mysterious way with the dominant secret of the universe.

And if this is true with regard to the value of the love
of Christ, it is true also with regard to those ancient
poetic dogmas which the world has associated so long
with the idea of the Incarnation; such as, for example,
the Virgin Birth. All these conceptions hang together;
not so much in a theological system - that is a com¬
paratively unimportant aspect of them-as in the
psychic, emotional, and poetic body of feeling with
which we react to the whole pressure of life.

107

THE MEANING OF CULTURE

It might perhaps be put in this way: Without com¬
mitting himself one inch in the direction of joining any
church or confessing any creed, without, in fact,
abating one jot of his scepticism about the whole affair,
the cultured person recognizes that it is well within
the bounds of possibility that though there is no
tangible human reality in the invisible world answering
exactly to this Christian mythology, there may well be
aspects of cosmic reality, in the mysterious system of
things, corresponding to these extraordinary dogmas
and represented by the vibration and perturbation
- and also by the peace and calm - which these dogmas,
just because they have gathered up in their long
passage through history so many earth-born intima¬
tions, produce in our minds. If there should, by any
chance, be aspects of cosmic reality to which these
extraordinary human symbols correspond, it would
seem a mistake not to leave a certain space or gap in
the mind open, free from preconception, where these
symbols can be allowed their scope. The great thing
is to keep them in their place, in this mental gap,
as one cosmic chance among many others; to treat
them, in effect, with a certain lightness, so that our
ambiguous interest in them should never be exploited by
bigoted and fanatical persons, or by crafty and treach¬
erous authority with the intention of imprisoning free
thought. Cultureis not culture unless it induces,
and sustains when induced, the one type of mind jn the
world-Which will never assist, never even indirectly
assist, at any kind of mental or moral tyranny. Culture.

108 ■

CULTURE AND RELIGION

aimsat^roducing a free spirit, in the deepest sense:
fr^e^hat^^ from the fanaticisms of religion,

from the Fanaticisms of science, and from the fanati-
ri^isI^tH^THoB.""'IFever a cultured person were in
danger of being martyred for an opinion, the only
absolute opinion to which he could be forced to plead
guilty would be the opinion that it is unpardonable to
persecute any opinion!

It is our terrible, evil experience that the cruelty
of human nature is so inexhaustible that it habitually
uses — Catholics and Protestants are alike in this —
these wild, strange, lovely, poetic dogmas as oppor¬
tunities for a monstrous oppression. Theologically
and morally, in the name of Christ they make war upon
life. Life always wins in the end and always will; but
in the meantime many lives are blighted and ruined.

Out of this complicated discussion, therefore, two
points clearly emerge. First, that religion has kept
clean and open, facing the unknown outer spaces, a
postern-window in the prison of the self which common
sense might only too easily have allowed to get blurred
or shut; and second, that by cultivating the ecstasy of
love an emotional nervous vibration has been originated
on this planet which not all the brutal lusts and inert
malignancies which belong to our race can ever entirely
destroy.

In her obstinate insistence upon possibilities which v
reason is tempted to deny, religion has indeed helped ]
to preserve alive that sacred ultimate scepticism upon
which all sensitive culture is based. She has also, by

109

THE MEANING OF CULTURE

her equally obstinate emphasis upon the freedom of
the will, endowed the human ego with a certain prag¬
matic resilience, poised, taut and tense, like that of an
animal crouching to spring; so that when its enemies
gather fatally about it and all seems dark and deadly,
it can work some interior spell that alters the whole
situation.

Neither Catholicism nor Evangelicalism has had the
monopoly of conferring this power. There have been
saints in the one cult and mystics in the other who have
enabled the human consciousness to break loose from
its normal moorings.

Condemn religion as you please for its abominable
cruelties, it cannot be denied that it is within the circle
of its consciousness that certain astonishing mental
phenomena have appeared. In the sphere of what is
called conversion alone, not to speak of calmer experi¬
ences, it has been amply shown, to the refutation of all
cynical opinion, what the will can do, when dominated
by this power, in changing the whole nervous system
and transforming the unhappy into the happy.

And it seems to be only religion that can do what
religion does. The cult of the senses, their awakening
and refinement, can bring and can be made to bring
ever-increasing opportunities of delight; but there are
few epicureans among us whose presence radiates
unconquerable ecstasy! The cult of philosophical
endurance can bring, and can be made to bring, steady,
obstinate, stubborn content; but there are few stoics
among us from whose personality ecstasy flows forth

IIO

CULTURE AND RELIGION

like a luminous flood! But when one thinks of St.
Francis’s ‘Hymn to the Sun’ or of William Blake’s
‘Songs of Innocence’ or of Alyosha Karamazov’s
weeping upon the earth, one is confronted by what
undeniably is the greatest experience possible to senti¬
ent beings: namely, a heightening of happiness till
it thrills through body and soul with a quivering
absoluteness that passes understanding.

It is in the inherent scepticism of culture that the
secret of our natural happiness lies; because we are
then left free to be ourselves without any morbid fear.
All thrilling discoveries of freedom are experiments
of the will, and it is our scepticism of mechanical fate
that keeps the will free.

How would the will be kept intact if we could not
feel a certain philosophical doubt of every modern
scientific hypothesis! Those irreversible movements of
cosmogonic matter with which our grandparents
terrified themselves, these newly hypothesized quanta ,
manifested in electric vortices of energy which dance
their creative dance in the mathematical continuum of a
Space-Time-Universe that coils back upon itself like
the World-Snake of Norse mythology, present their
bewildering physical-mental events to the sort of
scepticism I am defining, and are received as a no
more infallible reality than the great fantastic circles
of Dante’s mediaeval Paradise.

The open door into the unknown, the little crack
in the starry walls of the world, which religious
superstition has refused to close, remains one of the

hi

THE MEANING OF CULTURE

essential apertures out of the barred chambers of the
human ego through which our life gets the fresh, cool,
calm air which it needs to breathe. One is lucky if
there are other vent-holes besides this one; but this is
something, and of a value that cannot be gainsaid.

There is much more to be got for our deepest life
from religion than the mere quickening of what
natural and heathen goodness we may possess. Such
natural goodness, with its accompanying humility, is
indeed one of the greatest things in life, and no mean
organ of research, as far as beauty and truth are
concerned. But there is often a stratum of what Ger¬
trude Stein calls ‘Stupid Being* in natural goodness
from which certain wilder, stranger elements in human
culture turn away, shy, baffled, frustrated, as if from a
smooth rock upon which there is no ledge.

What we can derive from religion, even without
wholly accepting it, is something that transcends
natural goodness. Hints, rumours, glimpses, intima¬
tions touch us here, on this debatable ground, which
it would seem unwise to reject - with such simple
hedonists as Anatole France - when Shakespeare,
Goethe, Dostoievsky give them a tremulous hearing.

It is true, we cannot deny, that to many intelligent
minds religion is so involved with certain emotional
and theological notions of God that it seems hopeless
to attempt to get the good of it while we remain scep¬
tical about these and even hostile to the very idea of
them. But if our culture has, as in its nature it should
have done, swept like an aeroplane over the centuries,

112

CULTURE AND RELIGION

and allowed the multifarious, shifting landscapes of
God-worship to mingle and recede, to advance and
retreat, beneath the speed of our flight, while the
terrestrial recurrent nights of complete darkness
blotted them all out at times, we shall have learnt the
trick of separating the ecstasies produced by certain
mystical feelings in the presence of the great dogmas
from any formal attempt to work up what is called
faith, or to proclaim what is called belief.

Although the existence of organized religion
depends upon there being still left a residue of real
believers, there is no need, for those whose secret
culture is engaged in appropriating certain rumoured
hints and hopes, to accept any pious attitude to the
universe; no need to accept any formal attitude. - For
as I have suggested elsewhere in this book, the nucleus
of our personality, call it ego or soul, when it sinks
back upon the inmost core of its awareness, is com¬
pelled - whether it desires to feel such things or not
— to alternate between intense gratitude to the mystery
behind life and limitless indignation. It is driven by
Nature^ herselF to feel gratitude when its being is
irradiated with happiness, and by the same fatal
necessity to feel defiance when the cruelty of things
lacerates it or hurts what it loves. Thus all the theo¬
logical conceptions of God, and all degrees of atheism
and agnosticism, can be left to the surface of the mind;
left to ebb and flow, to thicken and fade, as chance or
occasion, as the mood or the hour, as one's malice or
one's submissiveness, dominates the susceptible

n*

THE 'MEAN IN G OF CULTURE

pseudo-logic of conscious opinion; while our real
feelings, inviolably protected from the intrusion of
formal belief, live and grow in their own region. And
just as the real essence of what our culture gets from
religion — those indescribable moments when, as
Proust would say, the Eternal Being in us finds its
opportunity to annihilate time - has nothing to do with
our logical views, for or against the existence of God,
so it has nothing to do with the question of the immor¬
tality of the soul. What this sensitized awareness of
ours, which it is the purpose of our culture to integrate
and refine, has really found in the wake of religion - in
that long, tossing, moonlit track on the dark waters
which the mystic tradition leaves behind it — has
nothing necessarily to do with a life after death. It
has to do with what Wordsworth describes as
‘Something far more deeply interfused;

Whose dwelling is the light of setting suns,

And the round ocean and the living air,

And the blue sky, and in the mind of man*/
but it is so penetrated by obstinate questionings, so
saturated with doubt as to any concrete certainties,
measurable by the rules of logic, that it draws back like
a sensitive plant when any alien mind, working with
the rational surface of the brain, calls upon it to declare
itself as definitely for or definitely against the simple,
popular, symbolic images of the world’s hope.

I The whole purpose of culture, as I have said before,
I is to enable us to enjoy life with a consciousness that
4 has been winnowed, purged, directed, made airy and

XI 4

CULTURE AND RELIGION

porous, by certain mental habits. Whatever, therefore,
interferes with this free, relaxed spontaneity of mind
is, according to the tone of thought adopted here,
irrefutably evil.

Sometimes, undoubtedly, religion, both Catholic
and Protestant, does interfere with this freedom, with
this unimprisoned motion of the will which lies at
the very root of our life. But before dealing with this
aspect of our subject there is a certain moral question
to be considered.

No man is really cultured who does not prefer
) Culture to power, to fame, to money, to prosperous
practical activity. But what about this or that poble
cause?

The purpose of our argument is not to contend that
culture is an aim superior to an heroic cause. It may
be an inferior aim to many a self-renouncing purpose,
entered upon in indignation or pity. This is a very
complicated and difficult question, and one which each
individual must decide for himself, knowing what he is
doing and where he is going. On the face of it, it
would appear most probable that the supreme wisdom
consists in some kind of difficult compromise between
culture and the heroic life. Every man and woman
finds out sooner or later that his personal egoism
clashes with his natural affections. The individual
must decide. Love, as we have dared to hint -and
not only the Love of the Saints, but ordinary human
love - possesses, in its own right, most miraculous
glimpses into the nature of both truth and beauty; and

”5

THE MEANING OF CULTURE

is therefore itself an invaluable organ of research, and
one that culture were ill-advised to neglect. But it
does remain, and it is only clouding the issue to deny
it, that moments must arise in every person’s life when
a choice has to be made between our own culture
and some laborious form of practical work by which
other people are comforted and supported. If one
has the conscience of an honourable man or woman,
one feels instinctively that there are occasions when
culture must be unhesitatingly sent to the Devil! But
even in this case, though it must be whispered with
some caution, it may turn out that in losing culture
we gain culture! For it cannot be denied that although
a concentrated awareness is what we must aim at there
are many lovely and magical flashes of illumination
which come sideways and indirectly. Indeed it may
often happen when you are thinking of your ordinary
task and are just plodding on at your monotonous
human burden, that there will suddenly come over you
a flood of delicious intellectual insight, bringing in its
train just those very vistas and perspectives of indes¬
cribable happiness which are the final goal of the long
cultural pilgrimage of the psyche 1

Hitherto I have spoken in this chapter of what
culture can derive of insight and refinement from its
nervous contacts with religion. It now remains to
^peak of the inevitable hostility between the two when
religion stands in the way of culture.

At this point, especially with regard to the young,
it is wise to recommend a shameless Machiavellianism

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CULTURE AND RELIGION

of the spirit! What a young mind were well-advised
to do - where confronted by the opposition of stupid
relatives or unenlightened public opinion - is to use
the weapon of ironical submission. In other words,
keep your culture to yourself, till, by practical activity,
you have won your freedom; or, if you are too weak )
ever to win your freedom, keep it for ever to yourself!
This rather sinister advice does not mean that you need
ever betray your interior integrity. On the contrary,
you protect it by the best method with which anything
great and sacred is protected — namely, by silence.
Nature herself works on this plan in her vast reservoirs
of mysterious life. Fight the world for others, if you
will; but the moment you begin fighting the world
for your own most subtle ideas your ideas will grow
infected. The poison of angry self-assertive con¬
troversy will enter into them; and, even if you win, you
will find your flag stained with the enemy’s impure
blood.

One of the most obvious marks of uncultured people
is their way of blurting out what they think to be their
inmost life-secrets to the first new-comer who is
patient, kind, or inquisitive. It is a shrewd proof of
how much more cultured, in the deepest sense of the
word, illiterate country-people often are than clever
city-people, that the rustic nature is cautious, crafty
and slow in speaking of its interior life. Such a nature
possesses an innate personal dignity and reserve in
these subtle things, whereas the other gives himself
away as soon as he approaches a stranger.

117

THE MEANING OF CULTURE

What does this mean, this glib chatter about the
deepest secrets of life? It means the absence of that
rich loam of idiosyncrasy out of which all culture
springs. Aristocrats and rustics have one thing in
common, and they have it in common, too, with all
lovers and artists. They are unwilling to open the
little postern-gate of their secret shrine for every casual
traveller to stare at.

The reason why the cheap popularization of psycho¬
analysis runs like quicksilver through the talk-markets
of the Megalopolis, is, firstly, because it disparages
the power of the individual will - that bete noire of all
mobs-and, secondly, because it brings down to a
common level all the rarer values of personal dignity.

Where religion is injurious to culture is where,
through the medium of stupid exponents, it offers a
heavy, opaque, conventional resistance to all passionate
originality. In other words where religion blocks the
way is where it is false to its own Holy Ghost of original
inspiration. But let youth remember — when its
culture is threatened by religion - that no Inquisition
can reach to the thoughts of the brain! ‘The mind is
its own place/ as says the Miltonic rebel against
Omnipotence, ‘and in itself can make a heaven of hell,
a hell of heaven/

One of th g sub tlest d iffere nces,be tween culture and
education, in their effect upon the mind of youth,
isTKaTthe former counsels silence, where the latter is
always anxious to expound, to attack, to defend. ‘Never
argue/ says the wise young John Keats. ‘Whisper

118

CULTURE AND RELIGION

your conclusions/ What our intellectual young
people should aim at, therefore, is that beautiful
crystalline integrity, delicate and evasive, infinitely
reserved, courteous and detached, described so
eloquently by Walter Pater in his essay entitled
‘Diaphan&t^/

Because a boy or girl is surrounded by stupid people,
oppressed by a repulsive commercial tyranny, cramped
by a revolting religious intolerance, there is no need
for upheavals, ultimatums, overt rebellions. Sink into
your own soul! Use your imagination and your
senses upon the few simple elements of the Eternal
that surround us all and the few undying books that
you can lay your hand on, and create a new soul of
awareness under the surface of your quotidian sub¬
mission. There will always be earth and air and sky.
Let these alone be witnesses of your silent, slow,
unfevered growth.

Nor in your attitude to religious intolerance and
moral tyranny, need even your outward conformity
be ironical beyond a certain point. Better than irony,
with its malicious after-taste, is a certain conscious
transparency of natural simplicity towards life which
even your cleverest enemies will find it hard to cope
with. They will find it hard indeed to believe that
such simplicity is not irony.

The most beautiful effect which religion has upon
human character is just this very simplicity. Why
should religion be allowed to retain a monopoly of it?
The more sophisticated you are, the more deliberately

n 9

THE MEANING OF CULTURE

will you aim at simplicity. You may regard it as a
psychological truth of absolute certainty that the
attitude of Alyosha Karamazov, or of Prince Myshkin,
or of Wilhelm Meister, or of the young hero of
Thomas Mann’s fine novel ‘The Magic Mountain,’
is an attitude which the exponents of the moral intoler¬
ance you are dealing with find much more baffling,
puzzling, and elusive, than any complicated philoso¬
phical or humorous contempt.

j What intelligent youth should always aim at is a
[grave, detached, non-committal nai'vet^ in its cultural
explorations, a temper of spirit which keeps its sense
of humour well in its place and never allows a cynical
moral defeatism to poison the naturalness of its earnest¬
ness. ‘Earnestness alone makes life eternity,’ and there
is no earthly reason why any intelligent youth of our
day should vulgarize the freshness of his response to
this mysterious world by a cheap cleverness, put on to
worry and tease the simple Philistine.

At the bottom of this whole relation of culture to
religion there ought to lie a steady resolve, on the part
of culture, to be not less serious than religion. Culture
should in fact appropriate to its own imaginative life
that intense dramatic consciousness of high issues at
stake which is the essence of religion. Why should
not culture have its own peculiar Numen inest , ‘Deity
is here,’ as it goes gingerly and warily through a world
as full of black and white magic as ours is? The young
neophyte of religion learns very soon to retain his
furtive integrity under the Cheap Jack fooling and

120

CULTURE AND RELIGION

brutal derision of the market-place. He soon learns
to accept as inevitable the world’s careless accusations
of priggishness and fastidiousness. He expects to be
made to look a fool and he is made to look a fool. If
he has a certain psychic power of masochistic self-
humiliation, so much the better. Thus it ought to be
with the neophyte of culture; for if he is really sagacious,
if he has the wisdom of the serpent as well as the harm¬
lessness of the dove, he will know how to make use
of all the complexes and perversities of his own nature
in this ultimate quest.

He will in fact learn at last to be totally unashamed
of his freedom from the warm-blooded facetious herd-
instincts of his companions. He wjll learn at last to
he as natural and simple in his intellectual aloofness
as a sycamore tree among elm trees. He will learn that
The furthest reach of sophistication comes full circle;
comes back to a naivetl so integral as to be totally
unaffected by mockery and bullying.

/ Only very cultured persons possess, by a sort of
■grace of God, the power of being at once reserved and
freely spontaneous. This is the supreme stroke of art;
and it only comes to a person by a kind of heavenly
luck. It means that the youth in question keeps intact
the profoundest secrets of his being, while, in all the
rest, he resembles clear, transparent water, free from
the impurity, the meretriciousness, the dim black¬
guardism of any sulky superior pose.

Finally it would seem that since our pilgrim of
culture, living here in Europe or America, finds himself

THE MEANING OF CULTURE

surrounded by the psychic influences of Christianity,
he would be thick-skinned and insensitive if he did not
yield himself up to the profoundest of all the great
Christian dogmas, that dogma which more than any
other we owe directly to Christ. This is the startling
doctrine of the immeasurable and equal value of every
living human soul.

Certain very great men - Rembrandt, Dickens,
Dostoievsky, Walt Whitman - had the genius to
snatch this strange, disturbing, desperate doctrine
out of the magnetic vibrations originated by Christ,
and use it freely in their art. Here indeed can the
lonely culture of a proud spirit bathe itself in the
cleansing flood of a real, an authentic humility. The
Middle Ages with their ‘sweet fools in Christ* have
not passed away in vain if the ecstasy of a conscious
equality of all souls can still melt the barriers between
man and man.

There need be no sacrifice here of that inviolable
reserve of which I have spoken, for in this ecstasy there
is no question of anything but the ultimate human
approach. Thou art a man and I am a man. Thou
art a woman and I am a woman. Such is the magic
word. The earth-bound solidarity, in misery and in,
happiness, of all the poor creatures of earth, that in
human history has so often been outraged by monstrous
arrogances and stupidities, remains the supreme
religiousness of such as have come down to bed-rock.

And it is this great, poetic, natural truth to our
blood, with its class-destroying, intellect-defying

122

CULTURE AND RELIGION

passion for equality, that culture must take over from
religion, or prove itself not only inferior to religion
but an obstacle in religion’s way where religion is
humanity’s redemption. Not for one second does
culture lose its own spirit in such moments of identity
with all such as walk on two feet.

In this sweet, sad-happy drunkenness of equality
it only grows clearer that to acquire culture means to
acquire the art of gathering up the sensations of one’s
past life into a present that obliterates the first and last
of all sensations - namely, that of the flowing of time!
For what we recognize as the inner being of another,
when this ecstasy of equality levels all barriers, is the
essence of what we recognize as the inner being of
ourselves, a pitifully enduring, pitifully stoical self,
perpetually struggling to give the seal of the eternal
and the significant to the impression-waves and
thought-waves of the transitory and the meaningless!

PART II

APPLICATION OF CULTURE

CHAPTER VI

CULTURE AND
HAPPINESS

One thing is certain. We cannot claim that Nature
puts her seal of approval upon our culture until we can
prove that it results in greater happiness for the
individual who practises it. But consider our most
usual unhappiness! Is it not clear that the most fretting
miseries we suffer from spring from petty worries that
have no connection with the larger issues of life?
Here precisely is the place for an integrated and cal¬
culated art of sinking into the soul, that shall save us,
not altogether or entirely - for the flesh is weak — but
in a large measure, from this rankling misery and
feverish restlessness.

The orientals are adepts at certain spiritual devices
by which an inward calm is attainable in the midst of
jolting and jarring confusion; and why should not
we, who have inherited a more earthly tradition from
Greece and Rome, catch the secret of some concentra¬
tion of mind, more simple, sensuous, and imaginative
than theirs, but not less intense?

But what will be the relation between such inward
concentration and the natural happiness for which we
all crave? The natural happiness? Yes! For by fair
means or foul, directly or by the most circuitous

12 7

THE MEANING OF CULTURE

routes, the fountain of happiness is what all living
entities fumble and grope towards, in their troubled
passage from birth to death.

And does the art of culture imply that we must
retain a bold and clear awareness that we are seeking
happiness, as we thus ‘sink into our soul/ or is this a
problem better left in obscurity?

Here we enter upon a region of man-traps, positively
malefic with fatal miasmas and evil perils! Deep into
the world-memory of our race have the dark rituals
and cruel religions of former times lodged the dan¬
gerous superstition that by thinking of happiness
at all we inevitably lose it. In this whole matter of our
consciousness of the ecstasy of being happy and the
misery of being unhappy there are occult and holy
mysteries, only, it seems, to be approached without
shoes! Dark and deadly has the instinct grown up
within us which assures us that he ‘who loveth his
life’ shall most surely lose it. To dare to think about
the question at all is like stirring up a coil of venomous
cobras, as they bask, breeding, in the hot sand.

The poignant, acute difference between being happy
and being unhappy is itself something that seems to
make the whole subject as sensitive as a bruise upon a
child’s skin. But behind and beyond all this there is
this dark insane sense of guilt-that it is actually
impious to plot and plan for happiness.

There are probably all manner of subtle links
between the erotic nerves and the most simple and
delicate nuances of enjoyment which account for much

128

CULTURE AND HAPPINESS

of the touchiness of our feelings in this direction.
Happiness, too, is such a tremulous thing; fleeting as
a darting swallow, slippery as a silver-scaled fish, that
one has come to dread - with a furtive shiver of
suspicion — any meddling with those ‘arrowy odours’
that seem to call it into being.

In addition to this reluctance, there is the imme¬
morial temptation of man, the slave of casualty, to
lacerate himself in order to propitiate the gods of
chance! So deep has this self-laceration mania gone
with us; so obsessed are we by the idea of the jealousy
of the gods; that the thought of intensifying our
happiness by any crafty tricks of the mind has come to
seem ill-omened and a very courting of disaster.

Far more insidious than most of us realize is the
great taboo about this important subject lodged in the
inmost arcana of consciousness to-day. Modern
industrial conditions, the feverish, unleisured, scramb¬
ling lives we live in the big cities, increase the power of
this taboo. Pleasure begins to take the place of happi¬
ness; and thus when, at rare moments, happiness does
thrill us, the feeling is so exquisite that we are tempted
to regard it as a divine interposition, miraculous,
unearthly, not to be sought for by human methods.
Nervously we draw back from such methods; just as
a devout monk, in the Middle Ages, might have to
shun in haste a page of unholy magic, thrust between
the innocent leaves of his breviary!

For it is as though there had been written, across
the very sky of our darkness, by some terrible finger,

E

THE M E AN IN (i OF CULTURE

that the thrilling ecstasy called happiness must not be
spoken of above a reverential whisper.

It was the wayward opinion of Jean-Jacques Rousseau,
that great man whose excellent super-sensual sensa¬
tionalism is so unpopular to-day, and whose very name
is rarely mentioned without a sneer by our smart
publicists, that the meaning of culture isjiothjixigJess
than to restore, by means of our im^inative-reason,
that secret harmony with Nature which beasts and
birds and plants possess, but which our civilization has
done so much to eradicate from human feeling.

As a matter of fact there are many points of striking
resemblance between the undertones of Rousseau’s
culture and those of Goethe’s. From the writings of
these Nature-lovers the position could be defended that
the beginning of all real self-development lies in a
certain magical rapport , bringing indescribable happi¬
ness, between the solitary ego and ‘all that we behold
from this green earth.’

Such happiness is a totally different thing from what
is called pleasure. It flows through us, stirred by
mysterious memories, roused by unexpected little
things, and when it comes, it comes, as Goethe himself
says, ‘like happy children,’ who cry ‘Here we are!’

When once that sinister association between our
conscious attempts to prepare the ground for such
heavenly visitors and the feeling of impiety has been
shaken off, all manner of mental devices — not neces¬
sarily oriental in origin-can be experimented with,
by means of which one can renew the high experience.

130

CULTURE AND HAPPINESS

But, before anything of this kind can even be pro¬
jected, the insidious restraint of these atavistic In¬
heritances from our old tribal prostrations before the
Chthonian deities must be recognized as the evil
taboo which it is.

To attain a defiant stoical calm is then the first step
towards what we are seeking; for until the whole of
our interior being gathers itself together, like the deep
waters of a still lake, there is little hope that the magical
picture of the world, purged of the horrors which we
must acquire the art of forgetting, will mirror itself
within us! Those ecstatic moments which we are now
so impiously summoning up depend upon the ‘Mirror
of the Psyche’ being kept clear of disturbing ripples.

The mirror of our spirit thus prepared, it would
seem as though the next step in our bold attempt to
be ‘as gods discerning good and evil’ were an act of
sceptical detachment; detachment from that slavish
submission to the chance-tossed accidents of our
immediate environment, which untrained minds find
so hypnotic and so deadly. By concentrating on the
purer elements of this environment, upon the earth,
the sky and the sun, and upon such stray presences of
earth-life as fortune may have offered; by surrounding
these things with the vague atmosphere of former
magical sensations which they can be compelled to
restore, the mind can purge itself of the troublesome
pressure of litter and debris, purge itself of the worry
produced by discordant happenings, purge itself of the
evil taste of anxiety.

131

THE MEANING OF CULTURE

What this act of scepticism implies, with regard to
the clamorous illusion of so-called reality, is the re¬
jection of a very curious malady of the human con¬
science, namely the notion that one ought to accept
what is offered by life, at its face-value. Not at all!
It is the privilege of the solitary stoical soul to recreate
such reality according to its own secret will; its privilege
to make a clean sweep of what it has decided shall be
irrelevant; its privilege to live surrounded by the
essences of the exclusive universe of its choice. And,
be it noted, this exclusive world, wherein the stoical
soul obstinately wills to live, is not in any sense the
mystical ‘over-world' of oriental philosophy. It is a
world of presences which remain concrete, palpable,
circumstantial, material even, although so scrupulously
selected! If you call it an ideal world, it is so only in
the sense in which Greek sculpture and the Homeric
poems are ideal, that is to say purged, selected, visioned
in clear relief, stripped of the confusion of crass
casualty.

One may admit fully and freely that for certain
natures action is what brings the most subtle and ting¬
ling sense of happiness, and one may further admit
that this happiness in the mid-stream of action need
by no means be unconscious. One may admit too that,
for yet other natures, analytical or synthetic thought,
free from emotional reaction other than pure intel¬
lectual delight, is in itself happiness. But while ad¬
mitting these things, it is still lawful to maintain that
the most thrilling happiness possible to man proceeds

132

CULTURE AND HAPPINESS

from pure contemplation; and this is borne out by the
fact that the highest ecstasy of contemplation, whatever
its object, has a close affinity with certain great mo¬
ments in love and religion, while it has none at all with
either thought or action. In a certain sense the con¬
templation we are here concerned with is a form of
action. It is also an ecstasy of thought. Its inner
nature, however, remains a kind of sublimated sen¬
suality; what, on grosser levels, is called lust, only in
this case purged of the cruder elements of sex-desire
and sex-possessiveness, and directed towards the great
permanent poetic elements of planetary life.

The possibility of reaching a magical satisfaction of
this kind by the mere process of manipulating the mind
and the senses, by rejecting certain images and con¬
centrating upon others, has been menaced in recent
years by two opposite schools of thought; by the
occult, which seeks to surpass altogether the ordinary
phenomena of Nature; and by the mechanistic, which
seeks to reduce to nothing the inner feeling of free-will.
The ‘contemplative-poetic’ method advocated here will
seem to the former earthly and even materialistic; to
the latter a veritable megalomania of extravagant ideal
claims.

Yet it cannot historically be denied that a very
definite art of happiness, at once stoical and epicurean,
has been practised under innumerable names by artist,
by mystic, by saint and by lover since the dawn of the
earliest human culture.

Define it as you please, such resolute concentration

133

THE MEANING OF CULTURE

of the spirit upon an exultation that is at once sensual
and ideal offers a purpose in life which is more inde¬
pendent of external occurrences and conditions than
any other except the religious; and for that an act of
faith is required which is not given to all to make.

We must win, as Goethe says, our liberty afresh
every day; and this can only be done by a very definite
orientation of the will. We have, for example, to will
our detachment from the hurly-burly of the world,
till such an attitude grows to be a natural mental habit;
till the nucleus of the psyche within us grows to be at
once compact and fluid, formidably integral, and yet
capable of turning into flowing vapour, so that it can
glide through any thickset hedge!

Can it be said too often that ‘the meaning of culture’/
is nothing less than the conduct of life itself, fortifiedJ
thickened, made more crafty and subtle, by contact!,,
with books and with art?

It seems to be sound psychology that what brings
that swift indescribable thrill, heightening all we look
upon, is a certain sudden revival of old delicious
sensations, when by some unexpected touch or scent
or sound these are tossed up, like deep-sea flotsam,
from the recesses of the memory.

And what culture can do by its disciplined exercise
of the will is to prepare the terrain for such exultant
visions. To this end one ought to be alert, even on the
dullest and tamest of days, to gather grist for one’s
mill by assimilating these transitory essences and
impressing them on the memory. Every day that we

*34

CULTURE AND HAPPINESS

allow ourselves to take things for granted, every day
that we allow some little physical infirmity or worldly
worry to come between us and our obstinate, indignant,
defiant exultation, we are weakening our genius for
life.

It is not that we exult merely in being alive. We
exult in the contemplation of that particular world of
objects which we have selected from the rest, as being,
for us, ‘the best of all possible worlds/

Memory and continuity! Into the future we are, of
necessity, perpetually advancing. But the nature of
this future is malleable; and if we have cultivated an
intense awareness of the present and have crowded
our past with delicate memories, that unknown element
of chance which the unknown holds within it shall be
compelled, it also, in due season, to pay tribute to the
continuity of our days.

Infinite are the impressions that flood in upon us
from our surroundings. Led by her dominant instinct
the psyche selects from all these. In vain the trivial,
the repulsive, the loathsome, besiege her and seek to
hypnotize her. By long practice she has learnt the art
of dealing with these things — the art of forgetting
that they exist! Sprinkling them with the holy water
of Lethe, that she carries under the cloak of her life-
illusion, she reduces them to nothingness. They are
there; but they are as though they were not there!

One of the most troublesome hindrances to this art
of forgetting, which is so important a weapon of our
happiness, is a very curious pathological phenomenon.

*35

THE MEANING OF CULTURE

We all carry about with us, but some to much more
devastating results than others, an auto-sadistic Demon
whose delight it is to throw foul mud at our patient
aesthetic life, mocking it with perverse and monstrous
profanities. This is the Demon who rejoices to hold
up before our mind’s eye those very things that with
so drastic an effort we have flung into Lethean oblivion,
hold them up and exaggerate them, till they become
phobias and manias.

This is the penalty, doubtless, that any sensitized
culture has to pay for its very existence; and all we can
do is just to carry these demonic mud-pellets plastered
upon us, as we go about our affairs; till suddenly our
magic works and they have no more power over us.

It would seem, however, that sometimes a shameless
vein of sheer Rabelaisian humour can be made use of,
in our secret dialogues with ourselves, easing off, so
to speak, the vile taste left in the mouth by the evil
tricks of this auto-sadistic Demon, and swamping the
devil in his own morass. We have really, in this crisis,
reduced ourselves to the old dilemma of the self-
persecuted ascetics of old times whose very pre¬
occupation with their struggle to retain the Beatific
Vision made them so especially accessible to the devices
of the evil one. Our preoccupation is with the visible
and not the invisible universe; but we too carry, as
they did, our own little horned Satan about with us,
whose grotesque whispers are the price we pay for
our dedicated piety.

Continuity in one’s interior lifel That is the essence
136

CULTURE AND HAPPINESS

of the whole matter. Just as religious people kneel
down by their bedside - and no custom could be wiser
— morning and evening in the presence of their God,
so we, devotees of a more secular cult, were well
advised to treat each particular day as an astonishing
miracle, never to be exactly repeated, from which
something unique can be added to our shrine of
memories.

Without conscious continuity there can be no
thrilling human happiness. That the self which
awakens daily to a new plunge into the unknown should
be surrounded by a magic circle of memories all
orientated towards the same ecstatic sense of life, this
alone is real self-culture.

It is not that we need ask of these never-recurring
days any startling or exciting occurrences. That cry
is the tragic cry of youth’s eternal restlessness. The
more culture a person has managed 'to attain, the more
independent he is of outward circumstance. A man or
a woman can be confined to one remote village-street;
they can be bedridden at one village-window; it will
still remain that a passing cloud, a glow of sunlight,
a few blown leaves, a little leaf-mould in a flower-pot,
will be enough; as long as the mind that contemplates
these things has been gathering for years with intense
awareness the hoarded treasures of its memory.

And now let us turn to a difficult and complicated
aspect of personal happiness where culture can really
be of immeasurable service. I refer to the part played
in our life by what is called pride. Let me hasten at the

137

THE MEANING OF CULTURE

start to define this pride as an integral feeling of self-
respect associated with what we may call a person’s
life-illusion. One’s life-illusion is that view of one’s
self, taken by one’s self, which includes both one’s
role in the world, as it applies to others, and the part
played by one’s self, in secret solitude, in regard to
the universe.

Now it is quite clear that nothing militates more
murderously against one’s self-respect than that help¬
less defeated sense that one is, as the saying goes, a
failure. This feeling of being a failure implies that in
the depths of our being we have accepted some objec¬
tive, if not some worldly, standard of efficiency in life.
If however our culture were sceptical and sagacious
enough, and individualistic enough-as it ought to
be and can be! — to hold in deep contempt all the
opinions of the crowd and all objective and worldly
standards, this ultimate pride of personality within us,
this self-respect by means of which we lie back upon
an unassailable life-illusion, could be perfectly content
with itself apart altogether from external success, or
fame, or prestige, or any reputation in the eyes of
others.

We should, in Mr. Wilson’s fine words, be too
proud to fight. We should in fact be proud of our
personality for no other reason than that it is what it
is and that there is no other exactly like it. We should
fall back upon that noble and primordial life-pride
which animals, birds, fishes, and possibly even trees
and plants, experience. We should stretch our limbs

138

CULTURE AND HAPPINESS

with pride and open our eyes with pride. We should
be proud to be bipeds, endowed with the power of
eating and drinking, of uttering human speech, and of
walking to and fro across the earth!

It is precisely here that a real sceptical culture, by
inspiring us with a philosophical contempt for all
human grandeur and all human praise, may throw us
back upon a deep, noble, simple, childish life-illusion
according to which what we are exultantly and in¬
violably proud of is simply the fact of being alive, of
being able to go walking about, touching things with
our hands, blinking into the sun, feeling the wind on
our face, the ground under our feet! The sort of pride
a really subtle and poetical culture will supply us with
is the same sort of pride an ichthyosaurus would feel
as it wallowed in the mud; the same sort of pride that
a horse or cow or a fir tree may be supposed to enjoy.

This is as a matter of fact the great Homeric secret
of happiness - the happiness of having for your life-
illusion something that is inalienable from your basic
bodily personality.

When the god Ares for example - that arch-
swagger and villainous roisterer — had been so well
lambasted by the heroic Diomed that he fled howling
to Olympus, no sooner had the heavenly unguents
eased him of his distress, than (so we read) he sat down
by his divine sire' ‘rejoicing in his lustihead.’ As a
matter of fact this blustering bully-boy of a god-of-war
had so wise a life-illusion that his pride was completely
satisfied by the mere feeling of well-being. How

139

THE MEANING OF CULTURE

proud he was to be able to strut about, to drink nectar,
and finally to sit down glorying in his strength by the
elbow of the All-Father!

What wholesome natural wisdom in this sly god’s
childish power of forgetting Diomed and his sharp
spear! More than half the misery in the world springs
from stupidly placed values. It is not a moral question
— we have seen what a childish rogue Ares was! It
is a matter of simple animal cunning. Quite apart
from idealism, quite apart from virtue, it is the merest
life-wisdom, drawn from the ancient earth, to place
one’s pride, one’s self-valuing, one’s life-illusion, where
it cannot be knocked over - in other words, sturdily,
simply, childishly, on the ground!

Here lies the whole secret of being happy. Ambi¬
tion is the grand enemy of all peace. ‘By that sin fell
the angels!’ There are certain cool springs of happiness
barred to all but the humble. But one need not prac¬
tise humility. I do not refer to these now. But the great
art of life consists in placing one’s secret personal
pride where it is inviolable; where it is unassailable.

This procedure may not be easy. But if we value
happiness this is what we must do. There is no other
way. Nor does it in the least mean that one need de¬
humanize one’s self or deny one’s self any natural
response to such personal triumphs (of the ambitious
sort) as chance throws in one’s way!

This is no admonition to sanctity or heroic ascetic¬
ism* But one’s deepest pride has to be given over,
committed, absorbed, grown ‘native and endued,’ to

140

CULTURE AND HAPPINESS

an absolutely different level of experience from the
level of worldly rivalry. What the ambitious man
regards as thoroughly foolish and is prepared to
denounce as self-indulgent, dreamy, absent-minded, a
confession of personal failure, to a really cultured man,
to an authentic stoic or epicurean (for these opposites
amount to one and the same thing when they are
contrasted with the values of the world) is the true
purpose of life and an eternal fountain of abysmal pride.

The whole difference between an educated man and
a cultured man is to be detected here. An educated
man confines his mental and aesthetic life to periodic
visits to galleries, theatres, museums, libraries, lectures.
When he goes for a day’s pleasuring into the country
it is as a sportsman, a golfer, a motorist. He is then
taking his holiday; taking it from education quite as
much as from business, but not by any means escaping
from energetic action.

But in a cultured person’s life holidays, like the
lady’s love in Wilhelm Meister, are a case of ‘never or
always/ Every day is a holiday! Every day has its
own particular margin of lovely relaxed sensations,
upon the deep quietude of which no practical, no
educational disturbances are allowed to impinge. To
the cultured person, that day is utterly wasted where
one has been cheated of all time to one’s self.

To an educated man’s mind the pictures of Con¬
stable or Corot, of Hobbema or Ruysdael are all in the
Museum; Homer’s ‘Odyssey,’ Wordsworth’s ‘Pre¬
lude,’ T. S. Eliot’s ‘Waste Land’ are all in the shelves.

141

THE MEANING OF CULTURE

But the man or woman who is using literature and art
as a means of enhancing certain thrilling sensations to
be got out of life has (consciously or unconsciously)
assimilated a feeling for that morning freshness, dewy
and diaphanous as liquid mist, through which the
legended figures of Corot move with such wistful
grace.

This birch coppice by the banks of an American
creek whose heavy July greenery invades the old dark
woodwork of a water-mill, finds an added response in
a cultured person's imagination, not only because of
something Ruysdael-like, or Hobbema-like, about the
way a thousand little objects are grouped there, but
because of something in those rounded moss-grown
branches, of something in that floating greenery, which
suggests the kind of poetic romance that we associate
with the Odyssey.

It is above all the sign of a cultured man to be enough
of a connoisseur in the art of past generations not to be
fooled into fantastic dogmatism by the art-theories of
his own age. Although a violent and fanatical cham¬
pionship of modern art has a lively value in stirring
things up and making conversation illuminating, as
far as happiness is concerned, the more sceptical, easy,
uncommitted enjoyment of every particular epoch we
chance to encounter, for some special grace in it, seems
the maturer method.

How many lovely and never-returning vignettes of
Nature one might have missed altogether, if, moving
through the world with a steel armour of modern-art

CULTURE AND HAPPINESS

arrogance about one, one had hardened one's heart to
certain quaint old-fashioned inartistic methods, which
nevertheless have, on occasions now totally forgotten,
entered into the imagination and profoundly moulded it.

It is in fact a grand imaginative power, this libera¬
tion from restraint of the right of being thrilled by
endless enchanting things, in both art and Nature,
that break all the aesthetic rules 1 And it needs a most
holy ignorance or a most sophisticated wit to reach this
consummation 1 What real culture, in fact, can do for
personal happiness is to simplify existence down to
bed-rock, to heighten in fact those great permanent
sensations which belong, as Wordsworth puts it, to
‘the pleasure which there is in life itself.*

This achievement is of course a matter of habit.
But it is a habit well within the scope of every son or
daughter of Adam. To attain it, one must be at once
stoical and epicurean; stoical in one's power of harden¬
ing one’s sensibility to ‘the ills that flesh is heir to,*
and epicurean in one's power of lively response to the
simplest recurrent sensation.

The coolness of sheets, the warmth of blankets, the
look of the little blue flames dancing on the top of a
fire of hard coal, the taste of bread, of milk, of honey,
of wine or of oil, of well-baked potatoes, of earth¬
tasting turnips! — the taste of the airs, dry or moist,
that blow in through our opened window, the look of
the night sky, the sounds of twilight or of dawn, the
hoarse monotone of a distant pinewood or of pebble-
fretted waves - all these things as one feels them, in

*43

THE MEANING OF CULTURE

the mortal pride of being able to feel them at all, are
the materials, eternal and yet fleeting, of the art of
being a man alive upon the earth.

Assume that one lives in a great city. Is there a
particular street near us where the morning sun turns
the pavements into aqueous gold? Is there a particular
street near us where the sinking sun gives to every
figure that moves out of that glowing furnace the
opaque blackness of a goblin of the abyss?

Never, even amid the most obtrusive and tyrannous
masonry, do the fluctuating lights and shadows of one
day exactly reproduce those of another! The cultured
man is the man whose interior consciousness is for ever
obstinately writing down, in the immaterial diary of
his psyche’s sense of life, every chance aspect of every
new day that he is lucky enough to live to behold!

144

CHAPTER VII

OBSTACLES TO
CULTURE

The life of culture is really a pilgrimage; and. like
Bunyan’s Pilgrimage, a person can make his start upon
this long journey at any moment in his life or from
any conceivable situation. One’s actual years make
little difference. Whenever the start is once made our
cultural wayfarer is bound to encounter dragons and
giants, Sloughs of Despond and Dungeons of Despair.

Let us consider some of these perils. The melan¬
choly thing is that the worst of them seem implicit
in the process of culture itself. Take the mental
condition known as ‘defeatism’ for example. Here is a
case of an important aspect of culture, its sophistication
and its intellectual scepticism, turning round with an
adder’s bite upon the very roots of one’s being. This
weary, disillusioned note of futility in our life may
take many different forms. One among these is
aesthetic and besets us when the art-for-art’s-sake
view of what is most precious in works of genius
dominates the field of our response and casts a blighting
suspicion on every other kind of appreciation.

Writers like Huysmans, Maurice Barres, the de
Goncourts, Baudelaire, d’Annunzio, Oscar Wilde,
and the particular kind of half-brutal, half-barren
sophistication represented by the garish overcrowded

*45

THE MEANING OF CULTURE

stage of Huneker’s exotic ‘little flowers/ tend to throw
a rank withering death-odour over the natural up-
shooting, the fresh green growths, of a sensitive mind’s
development. The cure for this spiritual wilting is not
to rush into the arms of Robert Browning, or even into
those of Walt Whitman; for nature can scarcely be
expected to endure such violent oppositions, but
rather to turn to Pater or Proust, or to Matthew Arnold
or Landor, writers who are epicurean enough in all
conscience, and heathen enough, but of a different
emotional timbre.

At the very opposite pole from the tendency just
alluded to is a much more widely extended peril, a
terrible trap indeed for the poor pilgrim of culture. I
refer to the mechanistic, antireligious, ‘de-bunking’
tone of mind! If the arrogant snobbishness of the
art-for-art’s-sake code poisons and blights, the elephan¬
tine Philistinism of this ‘de-bunking’ temper stamps
with its clodhopping heel upon a thousand delicate
wood-mosses and meadow-weeds. In place of a patient
ironic indulgence in the presence of human aberration
this school of ‘treat ’em rough’ puts it into our heads
to go rampaging around the world like so many
irascible policemen, rapping with our bludgeons all
the nervous human craniums who see and feel what
we cannot see or feel!

The great mistake these people make with their
rough, blunt ‘honest, honest Iago’ accent, is the mis¬
take of assuming that not to be interested in religion,
or not to be shocked by sex-lapses, or not to be averse

146

OBSTACLES TO CULTURE

to drink, are in themselves hall-marks of an eminent
intellect. Unfortunately the road to wisdom is not so
easy. But meanwhile this pathetic desire to be wholly
and gloriously ‘de-bunked' often does the human
mind much absurd harm. In fact one might easily
uphold the position that a new and important stage
has been reached in one's culture when one wakes up
on some relaxed morning when the wind is in the right
quarter to the illuminating idea that the great thing is
to be ‘de-bunked' ourselves once and for all of this
ill-bred pose of ‘de-bunking.'

But alas! Such obstacles as these - obstacles labori¬
ously placed by culture herself in her own path — are
not to be compared in their power to do evil with the
vapid and silly chatter of ordinary sociability among
men and women. Dull conversation, stupid conversa¬
tion, the conversation of those innumerable occasions
when neighbours' hearts appear to melt towards those
present while they chuckle over the delinquencies of
those absent, the conversations of relatives who are
not in the remotest degree interested in each other’s
minds, the society-talk of social climbers —it is this
that can leave a person's whole interior being com¬
pletely untuned, debauched, ruffled, outraged, with an
acrid taste of Dead Sea ashes in the mouth!

What happens under these conditions is that the
mind "gradually becomes hypnotized by one of those
curious mental atmospheres that acquire a sort of
horrible truth as they seep into us; the truth in this
case being a certain level of the grosser human-animal

i47

THE MEANING OF CULTURE

consciousness, a level which we all share but out of
which it is the role of culture to lift us! As Gertrude
Stein explains, everyone has in him a certain amount
of what might be called ‘stupid being*; but with the
especially luckless persons this ‘stupid being* is the
main thing! Well! Could we not assume that in most
gatherings of people, however genial and warm-blooded
such encounters are, the aura projected is simply
that of ‘stupid being*? And may it not be the presence
of this very aura that drives so many young people
into black moods of reckless reaction; moods that are
so disturbed and so embittered that the calm voices
of the gods themselves take on a strident harshness
when they are heard through such sick reeds?

A much more insidious obstacle to culture than this,
however, is an over-respect for a certain smart, clever,
cynical common sense when applied to matters of
literary taste. A situation arises here that might well
be named ‘Worldly Humour as the skeleton at the
feast.* Pitiful is it to see so many really sensitive
youthful minds prejudiced against some of the finest
and rarest of modern intellects by this ‘manly* jeering.
Young natures are very like boys at school in these
things; and when a rough-and-ready contempt is
expressed for certain proud, elaborate, difficult fastidi¬
ous artists - like Pater or Proust or James - such little
black sheep have a cowardly tendency to crowd behind
the bully who is making such a fuss and applaud his
silly gibes to the echo. It is just here that a common¬
place sense of the comic can betray a naive intelligence

148

OBSTACLES TO CULTURE

into the delusion that what is rare and delicate i$
unnatural and affected. The real affectation may
often, we submit, be entirely on the other side; for the
most annoying, sort of schoolboy-wag loves to put on
that airy tone of superior facetiousness with which
‘men of the world’ are wont to carry off their own
obtuse ignorance. Writers like Proust and Henry
James and Dorothy Richardson are far too occupied
with their own curious visions of life to find time for
any genial propitiation of the average man’s facetious
camaraderie ; and the result of this is that all these
great originals can be made easy fun of for having
4 so little sense of humour.’

Certainly when one contemplates the general condi¬
tion of mental life in a large city, it seems as though it
needed an inhuman obstinacy to avoid being sucked
down by the vortex of vulgar sensationalism that
seethes around us at every moment. When one
considers the psychological fact that written and
repeated brutalities hit the mind more deeply and
vulgarize the spirit more grossly than those that we
see in real life, and when one contemplates the unbeliev¬
able crowds of people that every day are saturating
themselves with the illustrated tabloid sheets and
thirstily imbibing the raucous comedy, the hoarse
publicity, the incredible sentimentalism of their ‘Radio
Selections’; when one finally considers the mere inven¬
tion of such monstrosities as the ordinary ‘close-ups’ in
the movies; the wonder grows that any human beings
are left in these places whose debauched wits retain

149

THE MEANING OF CULTURE

the least resemblance to old-fashioned human minds.

Nothing but an extreme and an almost misanthropic
individualism can save us from the ubiquitous
atmosphere of all this psychic vulgarity. We must
accept the situation. We must harden our hearts
against social-mindedness. We must welcome proudly
all accusations of priggishness and pedantry. The
worst prig in the world is a less despicable animal
than these besotted slaves of a ‘sense of humour/
these flunkeyish lick-spittles of folk-foolery, these
gesticulating Robots. Commercialized opinion, natur¬
ally enough, has turned against the teaching of Greek
and Latin, those useless, antisocial subjects, in the
schools. And what is the result ? A facetious populariza¬
tion of the old mythologies has become a modern craze;
and while the real poetry connected with Helen of Troy
is a forbidden affectation, the story of the woman herself
lends itself most horribly well to a comic Freudianism!

The point to get lodged in the mind of any youthful
person, whose fatality has begun to urge him to take
life seriously where his neighbours take it flippantly,
and to take it ironically where his neighbours take it
seriously, is that ignorance may be a most blessed
advantage in the pilgrimage of culture. Merely to
have reached the point of not being ashamed of
ignorance, especially in current topics and the latest
shibboleths of aesthetics, is a great mastery. Consider,
for example, the difference between some eccentric
bachelor who has discovered the very arcana of his
most secret taste, of his quintessential soul, in some

150

OBSTACLES TO CULTURE

form of curious erudition, some mania for a particular
art-epoch or thought-epoch of the past; compare, i
say, such an one as this, whose leisured interludes are
full of a mellow, a spontaneous, a whimsical fantasy,
with the kind of shallow, encyclopaedic mind one meets
on social occasions, whose lively chatter about a
thousand clever nothings is more boring than the
ramblings of doting senility.

How true it is that the greatest of all obstacles to
any deep, banked-up, sensitive culture is the inability
to obtain leisure, the inability to be alone. This is
where any impecunious, over-worked person has every
reason for becoming a ferocious Jacobin, a savage
revolutionary. Of all practical problems connected
with the pilgrimage of culture, this is the most difficult.
You may, however, be perfectly certain that you are on
the right track when your craving for solitude becomes
a kind of desperation; a thirst that at all costs, and
on every day of the week, must somehow be satisfied I

It is again no easy matter to deal with that gross
indolent inertia, which every human being is subject
to, even in his heavenliest solitude, and the causes of
which are bodily rather than psychic. This is when the
imaginative will, to which allusion has already been
made, must play its part. Up from the innermost
recesses of our being this imaginative will must be
summoned; and it must be summoned until it obeys
the call. What, when it appears, it deliberately
concentrates itself upon is the idea of the cold, black,
overwhelming darkness of death; the death namely

* 5 *

THE MEANING OF CULTURE

of this body which is now proving so recalcitrant!
Nothing restores that lost glamour, that blurred fine
edge, to the spectacle of life, more than a sharp aware¬
ness of the exceeding great chance that to-morrow - or
the day after to-morrow - we shall be struck down and
all will be over. You may long for such a consumma¬
tion as devoutly as you please. The certainty of its
arrival quickens the body's pulse as nothing else can
do. When, however, the body’s inertia, that ‘dull
whoreson lethargy,* which proves so stubborn an
obstacle to our intellectual pilgrimage, has been lifted
a little by concentration of our consciousness upon the
certainty of death, the will were well advised to focus
its forced awareness upon what might be called the ego’s
embrace of its universe. Life can be forced into intensity
only when the whole of our natureis strung up to wrestle
with life and embrace it. The body falls into its place
then, whatever its infirmities may be, and becomes a
yielding, tremulous medium for that ultimate act of con¬
templation which resembles so closely an erotic ecstasy.

Thus it may happen that the very fact of our having
to make a special interior effort to overcome our
physical inertia results in a fuller flood of the magic of
life than we should have known had the apathetic
hour never pressed down upon us. It is in fact a
sagacious trick of the mind never to allow any weary,
insipid, lethargic unit of time really to pass away,
without having clutched it before it vanished and
sucked from its grey Cimmerian apples some particular
juice, different from all other juices!

152

OBSTACLES TO CULTURE

The expression ‘imaginative will’ is intended to
outline that integrated gathering together of the self
within the self that would seem to correspond with
what Cardinal Newman meant by the singular phrase
‘illative sense.’ What this ‘imaginative will* really
does is to take the kingdom of heaven by storm; in
other words, to fling wide open the closed casements
of the ego to the inrushing airs of life. The strain,
the tension, the interior effort is confined to this
opening of the shutters. Once flung back, the effort,
for the time, is over; and what follows is just an
enchanted passivity, a relaxed and abandoned drifting
upon a flowing sea!

The instinctive refusal of the interior ego to submit
to the lethargic heaviness of these weary, apathetic
moods, its revolt, in fact, against the gravitational pull
of matter, becomes, at last, by frequent repetition, an
inevitable automatic habit. So naturally, as the indi¬
vidual grows more cultured, does the inner ego respond
to the challenge that the situation eventualizes at length
in this, that the mere fact of any time-unit becoming
inert and dull automatically releases — unless we fool
away such a chance by yielding to the weight of‘stupid
being’ in us-the very forces destined to rescue us.

One of the most prevalent obstacles to a growing
self-development in sensitive personalities is the
difficulty of striking a balance between the process
of banking up our own peculiar taste and the process
of extending that taste in new directions. In the one
case our psyche has to harden itself into an inviolable

*53

THE MEANING OF CULTURE

core of resistance to innovation. In the other case it
has to dissolve into a floating vapour of curious
exploration. Until we have acquired this magician’s
trick with our inmost identity, our culture will lack
its dynamic secret of growth. It is at this point that a
good deal of harm has been done to the instinctive
rubric of self-development by those favourite modern
catchwords ‘rhythmic life’ and ‘creative life/ The
exponents of this ‘rhythmic’ method are very dangerous
guides. Their advocacy of an unceasing rapport ,
always consciously maintained, between soul and body,
is a grievous error. Such a rapport is invaluable only
as long as we are banking up our identity against
invasion; but when it becomes a matter of extending
the circumference of our universe a completely
opposite method is required. Then, as I have hinted,
it is necessary to turn our inmost ego into a cloud, a
mist, a vapour, a nothingness, a pure receptivity. At
such moments, during such depersonalized ecstasies
of exploration, it is only a tiresome drag on the event
to cling to any conscious ‘rhythm’ of soul-and-body.
Then again, with that pompous phrase ‘the creative
life,’ we can only too easily betray our real culture.
There must, in fact, be always a systole and diastole
in these mental movements. The fidgety ‘creativeness’
of certain young artists is more than anything else an
obstacle to their growth. At a time when the youthful
Keats was passionately studying and even imitating
Spenser, Milton, Shakespeare, these ‘creative’ ones
are playing at being ‘Dadaists,’ ‘Sur-realists,’ ‘Instru-

i54

OBSTACLES TO CULTURE

mentalists’ and what not. The only way to overcome
this obstacle is to cultivate the art of becoming nothing.
Here, at last, we approach the secret of a certain
passionate humility in the life of the intellect, a virtue
which can be carried to the extreme limit without the
least danger, since the great centripetal-centrifugal
law of one’s spiritual pulsebeat makes it inevitable
that every rapture of humility shall be followed by a
corresponding rapture of self-assertion.

We live in an age of cultural chaos; with the result
that there never have been so many dogmatic guides.
Not one of these guides but has some private angle of
vision that may serve one’s turn. The reader however
will certainly have misunderstood the whole tenor of
this book if he thinks that to become a disciple of
Keyserling or Valery or Unamuno or Santayana or
Tagore or Claude Bragdon will relieve him of the
necessity of cutting his own coat to suit his own cloth!

A devilish hindrance to any real culture is the
snobbishness of preferring culture to personality. The
least possible amount of culture, when what it does is
to set free and round off the natural movements of the
individual psyche, is better than the greatest possible
amount of it when it hangs heavy and stiff upon the
outside of one’s skin.

Finally, there must be noted that fatal tendency, to
which so many of the most charming Americans
succumb, of sacrificing their culture to their native
goodness of heart. One almost hesitates to refer to this,
because there is something about natural goodness so

i55

THE MEANING OF CULTURE

much more attractive than anything except the finest
and mellowest phases of the cultural life. It does
remain however one of the saddest of human spectacles
when natures, obviously predestined to a delicate
and exquisite appreciation of the imaginative life,
are betrayed, year after year, by their unselfish warmth
of heart, into frittering away the unreturning hours
listening to the egoistic confessions of others, in giving
to others their nervous sympathy, their emotional
energy, their very life-force. Why! The holy saints
themselves always insisted upon having some moments
of their own in which to ‘enjoy God,' independently
of their acts of social kindness. But our poor modern
victims of ‘service' seem to be permitted no respite.
From person to person, from group to group they
move, letting their spiritual life-blood flow away in
streams. And the tragedy of the whole situation lies
in this, that, as the kindliness of these victims increases
and the pleasurable glow of their too-human inter¬
course deepens and spreads, something precious,
original, unique in the depths of their being gradually
fades away. A meagre, impoverished, frustrated,
diluted expression looks out from their ‘serviceable’
eyes. This look is accompanied, and in a measure
redeemed, by that glowing ‘brotherhood warmth’ in
the presence of which all human distinctions melt
into something spacious and equal; but even this is
in danger of becoming a kind of over-sweet drug; a
drug which at all times must be supplied by fresh
human contacts; and deprived of which, in any

*56

OBSTACLESTO CULTURE

enforced or unprepared-for loneliness, these people
are left empty and desolate.

But active goodness is not the only danger to the
integrity of one’s being. There is such a thing as a
desperate pursuit of‘Truth’; a pursuit fierce, relentless,
absorbing, which is even more destructive than warm
sociability to any peaceful self-realization. Certain
physicists, certain metaphysical logicians follow the
vortices and spirals of Nature’s serpentine coils with a
ferocious intensity that leaves all personal human life
a thing of shreds and patches.

The obstacles to culture are often as insuperable as
they are numberless. Our long pilgrimage is perhaps
more like a voyage than like a journey. Below and
around the harsh jagged reefs of practical necessity
flows the full-brimmed ocean of life. On its surface
drift and sway the nameless horrors - cruelty, mons¬
trosity, distorted shapes of decomposition, lurid phos¬
phorescence, fins of sharks, spawn of cuttle-fish — and
the mind can torture itself to madness with these
things if it will; and only by good luck or by great
effort can it forget them. And yet it remains that if
once one acquires the trick of taking all the material
necessities and all the practical necessities with a
certain lightness and a certain detachment, the habit
of enjoying the sensation of life itself will gradually
absorb one’s consciousness and make an unassailable
ship’s keel if only one holds fast to the rudder, from the
deck of which the eternal elements can be watched and
wondered at as the vessel steers by its pole-star.

157

CHAPTER VIII

CU LTUR E AND
LOVE

Since the art of self-culture is concerned with precisely
the same stream of intimate impressions as that which
is disturbed or quieted, quickened or retarded by every
emotional shock, it will be found to be especially
affected by the most formidable of all such shocks -
namely the experience of love.

Let us approach this complicated problem, then - of
the effect of love upon culture - by considering the
normal case of the opposite sexes* attraction for each
other.

The unfathomable abysses into which it is necessary
to plunge our plummet before we can bring up enough
salt sea-tangle for our analytical purpose is proof in
itself of the deep intermingling of the culture-urge
with the sex-urge.

The oldest among songs are the love-song and the
war-song, among dances the love-dance and the war-
dance; and when two well-chosen lovers or mates
exchange opinions upon life, the heightened dialogue
that ensues between them partakes of the emotional
vibration of both these. Two minds, in a most literal
sense, are better than one; and it is the very hall-mark
of a certain thick-skinned type of conceited male or

158

CULTURE AND LOVE

ironical female to throw away, out of lack of emotional
humility, the richest chances of mental enlargement.

The primal origin of the liberating effect of sex-
excitement upon our intellectual being sinks down
into those obscure regions of animal-life and plant-life
that lie at the background of all human consciousness.
The intuitive instincts of the female, clairaudient to
the furtive oracles of Nature, get into touch with a
thousand occult rhythms in the system of things that
masculine logic misses. But how dumb, how inarticu¬
late these flashes of wisdom remain, if not given shape
and form by the synthesizing tradition of masculine
reason. That devastating irony which is every woman’s
first instinctive retort to the pedantic patterns of man’s
sapless logic-forms, how richly it can be precipitated
into a precious body of the most illuminating intima¬
tions as soon as there emerges the phenomenon of
sex-love to orientate the two parallel methods of
approach!

It must be remembered that the problem confronting
us here is not the purely scientific one of the worth of
any particular pragmatic hypothesis, but the subtler
human one of personal growth in general planetary
wisdom. A richly cultured mind, like that of Goethe,
can fall into many specific errors, just because of its
refusal to harden itself against a certain feminism in its
own being (such as eternally rebels against the dry
assumption that the mathematical laws of cause and
effect can deal adequately with the mystery of life)
and yet, in spite of such specific errors, can steadily

*59

THE MEANING OF CULTURE

grow more formidable in massive adjustment to the
pulse-beat of the universe.

And what Goethe could do, with his more highly
charged intellectual equipment, any pair of ordinary
lovers can do, in their own measure and in their own
place.

The potentialities of sex-love as a stimulus to culture
can hardly be exaggerated when one recalls the pro¬
foundly magnetic unction with which two naturally
predetermined mates are wont to heighten the syllable
‘we’ in relation to their mutually built-up and banked-
up system of inclusions and exclusions. The essence
of a vitally growing culture lies in the accumulative
force of its instinctive ‘yes’ and ‘no,’ as various new
claims are made upon its attention. A clever person
loves to parade his topical and current knowledge
upon this and that; whereas in the inarticulate depths
of a cultured taste there are original elements that
reduce the mere pretension of knowing the appropriate
catchword to a negligible banality. It is the very fact
that any well-assorted couple must needs spend so
much time in thinking aloud which gives to their
reaction on any definite aesthetic point an orientated
bias that carries more weight than the wayward judg¬
ment of a solitary intelligence.

But it is in the actual psychic play of Eros-height-
ened self-assertion, when each of the two lovers is
instinctively evoking an original vision of things for
the sex-interest of the other one, that their combined
culture unfolds like an organic growth. And such

160

CULTURE AND LOVE

culture, a matter at once of vision and taste, will of
necessity take to itself a mellower and riper quality
than the purely masculine or purely feminine body
of feeling such as they would be imprisoned by if
they lived in isolation. For instead of any toning down
of the two extremes of their separate perceptions, of
the feminine intuition, for example, against the mascu¬
line logical formula, the mere fact that they are in
love will intensify these differences to the limit; and
the combined vision will not resemble an insipid
compromise between exciting opposites or a vapid
neutrality between living intensities, but a point of
view that is as much alive as a child would be alive.
Such a fusion of the imaginative perception of two
people does in fact give birth to something that is
completely new in the world; to something that would
never have existed if they had never met; to something
that may altogether perish with their perishing.

The recognition of this mysterious something need
not imply that you must encounter the two together.
Wherever either of them is, there this united vision of
theirs functions. For just as any man or any woman
carries, when in love, an illuminated aura to which
complete strangers are attracted, so this Eros-height¬
ened vision, this psychic offspring of their love, flings
forth such an arresting gleam upon every kind of
subject, that the dullest conversation is quickened by
it and the most tedious platitudes transformed by its
fairy light.

Since the true meaning of culture is a quickening

f 161

THE MEANING OF CULTURE

and vivifying of a person’s deepest and most secret
happiness; in other words the attainment of as thrilling
a response to the magic of life as that person’s tempera¬
ment allows; it is obvious that sex-love, an urge so
perilous and potent among the obscure roots of our
being, should affect it from centre to circumference.

Among the exactions that come between a person
and any deep adjustment of one’s personality to the
magic of the universe, none is more evilly draining
than a sex-partner whose basic life-illusion is contra¬
dictory to one’s own. Different it may easily be; and
the most delicate harmony be the result. But there
are aspects of contradiction that seethe and ferment
with a deadly fume; so that by their action the very
roots of both identities are poisoned and all spontaneous
cultural life menaced by a kind of psychic cancer.

Perhaps the profoundest liberation achieved by a
happy and lasting love-affair is the liberation from
wandering lust, than which few distractions are more
obsessing and none, except the swamping of a girl’s
personality by the subtle influence of her parents*
home, more murderous to culture. The obsession of
depersonalized lust has, it might seem, very much the
same effect upon the culture of a man as parental
vampirizing has upon the culture of a woman. In
both cases what the condition of being in love restores is
a lively awareness of the mystery of the inexhaustible
margin . ... by which I mean the flowing stream of
those simple not-to-be possessed elemental things that
make up the background of all human life. It is the

162

CULTURE AND LOVE

turbid fogs that sweep over our imaginative landscape,
when possessive desire drives us, which obliterate
these things and render them negligible. Lust-
tantalized, lust-obsessed senses turn upon the earth
and the trees, upon the sun and the moon as they
overhang the streets, upon candlelight and firelight as
they transform the walls of rooms, the same lack-lustre
eye that an ambitious man of affairs or a pleasure-
engrossed woman turns upon them. It is sex-love
alone, when it has absorbed into its being the restless
hunt for sex-sensation, that restores to these elemental
presences of the background of our days, their poetry
and their mystery.

And the same thing applies to the deeper sorts of
books and the more formidable works of art. It is the
lover rather than the pleasure-seeker whose culture is
roused to make the inevitable effort to overcome that
natural human indolence which prefers the sensational
to the beautiful.

Love, being the most magnetic of all things, is of all
things the most effective in absorbing the pressure of
the commonplace. The art of culture cannot find a
more potent sorcery wherewith to evoke those illumin¬
ated groupings of people and of objects from which
everything mediocre and meaningless has been purged
away. Life and Nature are forever tossing forth signifi¬
cant and symbolic situations, full of tragedy, full of
delicate humour. These situations contain platonic
essences capable of nourishing our deepest memory;
and it is only the disorganized litter of the day’s

163

THE MEANING OF CULTURE

crass casualty which snatches them from us and
drowns them in oblivion.

The state of being in love — and even, in certain
fortunate cases, the more permanent state of loving -
rouses and stirs up that secret nucleus of our personality
which it was once the custom to call ‘the soul.’ It
compels this ultimate ‘I am V to gather its forces
together and to exercise, over the pell-mell of life’s
disorganized and casual happenings, its own creative
will. Without love the mind’s awareness of what is
happening to it is continually being drugged. Lust,
ambition, work, pleasure — all of these drug, drain and
absorb it. Liberated by love, at one grand stroke, from
these superficialities, the mind experiences an incredi¬
ble relaxation. This relaxation very soon lends itself
to a vibrant sensitivity in which impressions are
received and values noted of a kind that are fresh,
thrilling, original. What love can achieve for a person’s
life-culture is on a par with the miracle that a heavy
dew can work upon a thirsty garden. The juices and
the saps of a million frustrated growths bestir them¬
selves within their parched stalks. Dumb, silent
shudderings of vegetative awareness dream upward
towards the drooping petals and downward towards
the dark unconscious roots.

Thus it is that when one ponders upon the effect of
love upon the furtive culture-habits of any man or any
woman, one comes to throw aside the withering
moralistic assumption that without offspring, or care
for offspring, love must necessarily be sterile. It is,

164

CULTURE AND LOVE

in fact, just at those moments when our deepest
culture is illuminated by love that we are startled by a
very singular intimation - the intimation, hinted at
in certain mystical writers, that some momentous
transaction is at such times actually reaching its
consummation; reaching it on a level of experience
stretching out far beyond ordinary human conscious¬
ness. Whether it be that when we are in love the
masculine and the feminine vision fuse themselves in
a clairvoyant synthesis, or that each of these distinct
visions is heightened separately to the limit of its own
orientation, there can be no doubt that, in the presence
of some delicate landscape-nuance or of some rare
aesthetic appeal, the imaginative lover has a subtle
advantage over both the ascetic mind and the vicious
mind. The complicated ataraxia of some balanced
moment in a perfect dance, the mysteriousness of one
of those lingering prose-periods that carry a perfume
in their reluctant modulation, the fatal mathematical
finality with which some musical phrase rounds itself
off - these things yield up an essence to a consciousness
quickened and sensitized by love - even by hopeless
love — which is far richer, in its dim, green, springtime
than anything experienced as a purely aesthetic
recognition.

It is the fact that when in love we are confronted
by the mystery of the whole macrocosm, confined and
incarnated in a living microcosm, that quickens and
ripens our development. The whole essence of
personal culture lies in an intensification of the cosmic-

165

THE MEANING OF CULTURE

sense. This cosmic-sense need not imply the predomin¬
ance of any vague, loose mystical planetary emotions.
It may concentrate itself upon a most concrete,
particularized, earthy series of small diurnal recogni¬
tions—upon the little things, in fact, of our normal
human life, grasped in their symbolic significance.
But whether planetary or particular, what it does
imply is the sense of awe, astonishment, wonder,
amazement, ecstasy. No lover can pass by unmarked
such things as that Byzantine spaciousness of faint
watery gold evoked by certain twilights, or that dusky
blueness, rich as the coif of the Mother of God, in
which certain spring evenings end. The lover takes
nothing for granted in Nature because he takes nothing
for granted in the one he loves, who is for him Nature’s
epitome. Awareness, awareness! That is the essence
of a cultured life, just as it is of the essence of a lover’s
life. Uncultured people live in the world without
being conscious that to be alive at all is the one grand
mystery. Driven by necessity, as we all are; driven
by hunger, by desire, by economic anxiety, as we all
are; the cultured human being never lets a day end
without sifting and winnowing his store o£accumulated
cosmic-sensations. Miserable he may have been;
uncomfortable he may have been - but he has not been
unhappy. He has said to the universe - ‘Whatever
you inflict upon me, I can still enjoy your mad beauty!
Even while you are making my life miserable I can
still enjoy this or that. . . and again, that and thisV
The cultured consciousness uses the universe
166

CULTURE AND LOVE

precisely as an intelligent lover uses his dear com¬
panion. He secretly enjoys its miraculous beauty,
even while he suffers from its unpredictable wayward¬
ness.

Fully must it be admitted that the tragic shocks of
jealousy and pitiable decline of love are charged with
cataclysmic threats to our deepest life-illusion; whereof
what we name culture is only the conscious develop¬
ment. The heart, as one knows too well, can be taken,
by the loss of love, out of Nature, out of Literature,
out of everything except Music, which, in its strange
absoluteness, lifts even desolation itself into the realm
of the ecstatically accepted. It is therefore as crucial
for culture as it is for happiness to work the magic
that will prevent this loss. Some measure therefore of
the art of love becomes an essential part of the art of
culture if we are to retain what we have won. It
is indeed just here that the deep saying of William
Blake, T forgive you; you forgive me; as our dear
Redeemer said - “this is the wine; this is the bread’V
becomes so profoundly applicable. For the only
solution to that bitter knot of contrariety that tightens
in such a deadly serpent-coil round the tree of life,
when two egoisms clash, lies in this irrational plunge
into illogical forgiveness. And such a plunge, although
the water be ice-cold at first, proves quickly enough its
own incredible reward. Each of the two egoisms feels
the magical solution at the moment either of them
makes the initial plunge. Between two natures, the
weaker may prove the stronger in this daring venture;

167

THE MEANING OF CULTURE

and the strange thing is that it is not only one of them,
but both of them, that are liberated by it from that
quicksand of mental possessiveness, where sex-hate is
almost as active as sex-love. Strange too, in these
perilous regions, is the fact that the secret inviolability
and basic integrity of each separate psyche is preserved
to an incredible freedom by this act of interior abandon¬
ment. Victims of one another the two seem destined
to remain — until one or other of them has the wit to
make this plunge; and, beyond all reason, to accept
and forgive. But when once one of them has made it
the profoundest interior self-possession is restored to
both of them, and the buried body of Eros rises living
out of the grave. It is then that once again, only now
with a yet more unearthly lustre, the strange light of
sub specie aeternitatis descends on the familiar landscape.
On the great passages in poetry it descends, on the
mysterious lines and colours of the rare works of art
that the two have discovered together, on those
invisible patterns of rhythmic mathematic whereby
the art of music lifts the very pity of their misunder¬
standing into an ampler ether, and on their double
vision of the world.

What is so withering to people’s life-illusion and to
their secret culture is not the obsession of love. It is
the possessiveness of love. This possessiveness is
something quite different from sex-attraction. It is a
projection of that maternal or paternal cannibalism
which desires to hug what belongs to it, even unto
death. Who does not know the subtle way in which
168

CULTURE AND LOVE

parents ‘set down the pegs/ as Iago would call it, of
the proud self-assertion of their offspring? To this
gloating, levelling, cannibalistic ‘love’ the victim’s
faults and weaknesses - yes! its worst vices —are
equally accepted as ‘dear’ and ‘darling’ with its most
desperate idealisms. Who has not watched a mother
stroke her child’s cheek or kiss her child in a certain
way , and felt a nervous shudder at the possessive
outrage done to a free solitary human soul?

When the real original culture of a boy or a girl
first becomes consciously important; when, thrilled by
vague delicious dreams, dreams of a reality of magical
essences, hidden behind the cruder reality of his home,
he takes to his parents a scrawl, a jingle, a toy-erection,
a painted bird or flower or ship - let the parent note
well that the significance of this does not lie in the
‘cuteness’ or pathos of the thing itself, but in the dream-
attitude towards reality, the dream-ecstasy of finding a
different reality, of the child’s thoughts as he was
making it.

The number of unknown original geniuses who have
been destroyed and brought to nothing by this levelling
possessiveness would be staggering if the truth were
known. It is this vicious ‘love,’ more than any other
force, that blights, poisons, devours. It feeds, like a
deadly caterpillar, upon the green sap-filled leaves of
youthful culture, attacking them when they are
tenderest, most sensitive, most helpless. Massive,
slow-moving, super-masculine writers are the ones to
escape this curse. Like wily badgers they shuffle

169

THE MEANING OF CULTURE

backwards into their holes and there lie perdus . But
where they gain in independence they lose in critical
help; for in flee’ng from the female harpies they
sacrifice that mysterious cosmic-feminine influence
of which Goethe makes mention at the end of Faust.

But sex-love is not the only kind of love; though
undoubtedly that element enters into many more
human relationships than we guess. It certainly blends
most bafflingly with almost all forms of passionate
friendship.

Where passionate friendship is concerned all that I
have just been saying with regard to love holds true.
It is, however, a very different thing when we come to
consider ordinary friendship. Friendship undoubtedly
has a perilous and double-edged influence upon one’s
culture. And although nothing, no influence, no
environment, no mockery or derision, can divert from
the path the person who is born to tread the path, yet
there is a certain margin of sensitivity where our
culture can be helped and hindered to a startling degree
by the personal friends that chance has selected for us.

The influence of friendship upon culture differs
from that of love, in that it assumes fhe basic idiosyn¬
crasies of personal taste to be unalterable. Love, in
spite of all rational knowledge to the contrary, is
always in the mood of believing in miracles. By
believing in miracles love works miracles; and in this
matter of a person’s deepest cultural tendencies it is
astonishing what changes, for good or for evil, love
can effect.

CULTURE AND LOVE

But friendship takes these fundamental personal
characteristics for granted. It rejoices in them or it
condones them. It has no desire to change them. Thus
the effect of friendship upon culture is something
concerned with such influences as can be brought to
bear upon the outstanding temperamental traits; not
to change them; only to exploit them, enjoy them,
share them, contradict them; dispute, criticize, analyse
and steer them I

It gives us an interesting hint as to how absolutely
different are the various arts in their emotional effect
upon us, when one comes to recognize that one gets
so much less from one's friend in the arts of literature
and music than in the plastic arts. From repeated
arguments with a friend about some modern sculptor
or painter — Brancusi, let us say, or Picasso, or Matisse
- one's whole attitude to such an artist might gradually
be changed. One might return again and again to the
gallery, ponder on the works in question and quite
likely come eventually to the conclusion that there was
far more in the clue he had suggested than one had
dreamed of.

But in literature and music it seems to be a totally
different case. These things sink into one’s being
through some sixth sense not used in the plastic arts.
One's whole nature must be saturated with these in a
manner far more absorbed and abandoned than with
those. No arguments with a friend, however often
repeated, would seduce us from our allegiance to
Proust, say, or to Stravinsky. This is because literature

THE MEANING OF CULTURE

and music gather up into themselves a thousand
floating impressions quite independent of the eye,
morsels of mysterious feeling, drawn some of them
from our unconscious atavistic life and some of them
from those blind obscure motions of the blood that
seem to belong to darkness rather than to light, to
time, shall we say, rather than to space.

The influence of a friend upon one’s deeper culture
seems, too, to find its natural boundary when it touches
our ingrained attraction to certain particular periods
in the past. It is just here, where love would be
peculiarly clairvoyant, even wickedly and destructively
clairvoyant, that friendship is often brusque, hasty,
impatient, apathetic. Our mania for a particular genre
in art, let us suppose, for a special school of early
Italian pictures, may easily have become an habitual
aperfu , by which we have learnt to feel ourselves
into some particular aspect of Nature-the peculiar
effect, say, of sharply-cut silver-blue leaves against an
ethereal horizon or of violet hills against blue space —
but this aspect of Nature may be the very one against
which our friend has long been, so to speak, defending
himself, in his predilection for the wild-tossed, green¬
ish-brown branches of later, romantic landscapes,
heavily charged with the impending expectancy of
mythological events. A lover, under such circum¬
stances, would instinctively dream of some miraculous
metempsychosis, by means of which either your
secret-illusion would be transformed, or his (or hers)
would be transformed. A profound uneasiness would

i7*

CULTURE AND LOVE

trouble both your impassioned minds until, in the
hidden depths of your opposed instincts, some
mysterious psychic change did occur.

Finally, to sum up all this, it would seem as if the
ideal situation for a cultured man or woman is to have
a lover of the opposite sex with whom ‘deep might call
unto deep* in regard to the basic mysteries of beauty,
while at the same time he had one or two intimate
friends whose explorations into completely new fields
of aesthetics would constantly enlarge his discernment
and supply other points cTappui from which he could
carry his guarded, exclusive, and banked-up preferences
into ‘fresh woods and pastures new. 1

173

CHAPTER IX

CULTURE AND
NATURE

The most important aspect of all culture is the gather¬
ing together of the integral self into some habitual way
of response to Nature, that shall become ultimately
automatic by means of fuller and fuller awareness.
What, as we have seen, should be the background of
all one’s days and of all one’s experience, is a certain
habitual philosophy of life, resolving itself into a
confronting of the ‘not-self by a consciously integrated
self. This habit of feeling, this attitude of the self
towards the not-self, would remain the same, even if
our scepticism of objective reality were carried into an
extreme solipsism; in other words, into regarding all
the impressions that come to us as merely the dreams,
in vacuo , of our own solitary ego.

Of these conscious gatherings together of the
scattered sensibilities of the ego, in face of the ‘not-ego,’
the most important, then, is our response to Nature
and to whatever it may be that lies behind Nature.
Few, among even the most unfortunate of us, whether
in slums or hospitals or asylums or prisons, are bereft
of all glimpses of Nature. Something at least of what
‘prisoners call the sky,’ during some moments of the

i74

CULTURE AND NATURE

day, must be revealed even to the most unlucky; and if
not even that, there will always remain memories of
what we have already felt.

The great test of culture, even for those who have
the use of all their powers and are free to go forth as
they please, is always the conscious way in which they
make use of memory. Memory remains for ever the
mother of all the Muses; and in our response to Nature
it is the accumulated memory of all past responses
that gives weight and poignancy to what we feel at
the moment. Comparison enters so much. This
particular grouping of things, this especial perspective,
this patch of sky with floating clouds, this fragment
of a hill-side, or a cliff, or a road, or a field, is added
with so much more definiteness to our storehouse of
prevailing impressions because of vague or vivid
memories of similar visions in the past.

No refining of one’s taste in matters of art or
literature, no sharpening of one’s powers of insight
in matters of science or psychology, can ever take the
place of one’s sensitiveness to the life of the earth.
This is the beginning and the end of a person’s true
education. Art and literature have been shamefully
abused, have been perverted from their true purpose,
if they do not conduce to it. The cultivation in
one’s inmost being of a thrilling sensitiveness to
Nature is a slow and very gradual process. The first
conscious beginnings of it in early childhood are
precious beyond words - as the origin of dominant
memories; but the more deliberately we discipline

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THE MEANING OF CULTURE

our sensitive grasp of these things, the deeper our
pleasure in them grows.

The first conscious aim which it would be wise to
concentrate upon is the difficult art of simplification.
The difference between cultured people and uncultured
people, in regard to their response to Nature, is that
the former make a lot of a little, whereas the latter
make little of a lot. By this I mean that the less
cultured you are the more you require from Nature
before you can be roused to reciprocity. Uncultured
people require blazing sunsets, awe-inspiring moun¬
tains, astonishing waterfalls, masses of gorgeous
flowers, portentous signs in the heavens, exceptional
weather on earth, before their sensibility is stirred to a
response. Cultured people are thrilled through and
through by the shadow of a few waving grass-blades
upon a little flat stone, or by a single dock-leaf growing
under the railings of some city square. It is an affecta¬
tion to boast, as certain moralists do, that a city-dweller
can get the same thrill from dingy sparrows and dusty
foliage as from a rain-wet meadow full of buttercups.
Better were it, than any such pretension, simply to
recognize that in the deepest levels of culture city-
dwellers are at a disadvantage compared with country-
dwellers. Better were it, if it is your ill-luck to live in
a city, to hasten into the country, at least once a week,
and spend all your dreams during the other days in
remembering that happy seventh-day excursion.

But granting that, by hook or by crook, we can
obtain some daily or weekly glimpse of Nature free

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CULTURE AND NATURE

from masonry and pavements, it seems that the best
way of deriving lasting enjoyment from such glimpses
is to simplify one’s pleasure to the extremest limit
possible. By this I mean that it is always wise to avoid
show-places and choose for your excursions into the
country the simplest and most natural scenery you can
find. To a cultured mind no scenery is ordinary, and
such a mind will always prefer solitude in an un¬
assuming landscape to crowds of people at some
famous ‘inspirational’ resort.

Fate itself usually decides what kind of scenery it
is that we are able to reach without hardship; but, if
the element of choice does enter, it would seem to
enter as determining the sort of landscape which is
most profoundly congruous with our temperament.
There is undoubtedly a deep affinity, probably both
psychic and chemical, between every individual human
being and some particular type of landscape. It is
well to find out as soon as possible what kind this is;
and then to get as much of it as you can. There must
be many hill-lovers and many sea-lovers who suffer
constantly from a vague discomfort and suppressed
nostalgia, although such feelings may be completely
unconscious, as year by year they are condemned to
spend their lives in some pastoral or arable plain. On
the other hand there must be plenty of people, born for
placid undulating luxuriant country and yet doomed
to live in some austere, rocky region where all the
contours are harsh and forbidding.

There can be no doubt that the primary satisfaction
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THE'MEANING OF CULTURE

in regard to Nature is sensual. People ought to culti¬
vate sensuality where scenery is concerned. One
ought to touch it, to taste it, to embrace it, to eat it,
to drink it, to make love to it. Many people when they
spend a never-to-be-given-back day in the country lose
all the imaginative good of their experience by talking
and fooling. It is almost impossible to get any really
deep impressions - whether sensual or mystical — from
such an excursion unless you go alone or with one other
person — a blood-relation or with some one you are
in love with.

It is strange how few people make more than a
casual cult of enjoying Nature. And yet the earth is
actually and literally the mother of us all. One needs
no strange spiritual faith to worship the earth.

Religious people - and quite properly - go to their
Mass fasting. Delicate and rare are the mystic feelings
they have; but not less exquisite are the sensations
of those who walk in the pastures of the Great Mother.
She too, as well as Christ and His Mother, deserves
such worship and such fasting. The real initiates of this
cult will never sit down to breakfast without having
walked at least a few steps in the open air. After a
night’s sleep the senses are virginal. Objects and
sounds and fragrances ravish them then, as they
cannot do at a later hour. Between the life of the earth,
freshened by her bath or sleep, and the life of any of
her offspring, there is a mysterious reciprocity at such
a time. A grass-blade is more than a grass-blade in the
early morning; the notes of a bird more than a song;

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CULTURE AND NATURE

the scent of a flower more than a sweet fragrance.

Each of the other hours has its own secret too. How
porous and insubstantial are the moments just before
and just after sunset. Who does not know, even
among city-dwellers, that peculiar wash of dark blue
air which seems to flow in over the whole earth and
become a new firmament between earth and heaven
until the first stars appear and the night falls? What
an unique delight there is too in giving reckless scope
to the delicious feeling of drowsiness that will overtake
you sometimes on a warm thyme-strewn bank or by
the edge of a hot corn-field! This noon-drowsiness,
this magic noon-sleep, is an experience by itself. It
is heavy with the rank saps and the gross juices of the
Goat-foot’s engendering. It has certain primeval
relaxings and releasings. Heady, tonic revelations it
has too, hardly to be revealed to the profane.

But it is rather in the twilight than in the heat of the
day, or perhaps just before the twilight, when the sun
falls horizontally across the earth, that the deepest
buried springs of memory within us are stirred. What
is there about those lengthening shadows when they
fall across lawns or meadows from motionless tree-
branches that stirs the mind and makes a person feel
strangely kind to his worst-hated enemy? What is
there about a long white road, disappearing in the
twilight over a ridge of hills to some remote, unseen
destination that touches the imagination in a way so
hard to put into words?

There is no necessity to answer such questions; but
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THE MEANING OF CULTURE

there is a deep necessity for waiting long and long
for the experiences which are so inexplicable. He
would be an arrogant fool who dared-to call himself
a cultured man without ever having made an intense
and special cult of enjoying these rare moments. It
will, I believe, be often noticed that when a person
wants to appear cultured what he does is to profess
aesthetic or artistic admiration for certain arrange¬
ments of form and colour in Nature. Nothing is more
annoying, more teasing than this. It seems so irrelevant
to drag in these pseudo-art-motifs when the life of
Nature is so satisfying in itself. What the real Nature-
lover does is to lose himself and all his most passionate
art-theories in an indescribable blending of his being
with the ploughland or meadow-land over which he
walks.

Some essential portion of his identity, some psychic
projection of his ego, rushes forth to embrace this
patch of earth-mould, this tuft of moss, this fern-grown
rock. He does not really think about what the poets
would call its beauty. In fact, whenever you hear
anyone begin to murmur about ‘the beauties of Nature"
you are justified in doubting whether that one is
possessed of the real clue to them. Such people are
summer-lovers and holiday-lovers. A few October
rains, a few November storms, and off they go, fleeing
in discomfort to their cozy pavements and re-assuring
fire-escapes.

No, the real Nature-lover does not think primarily
about the beauty of Nature; he thinks about her life.

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CULTURE AND NATURE

Beauty of course he does find in her, and a thousand
suggestions for art too; but what attracts him, what he
worships, is herself, her peculiar identity. Whether
at the particular moment she is looking lovely or
sinister, cheerful or sorrowful, peaceful or tragic, he
loves her for herself. Her winds may be bitter, her
rains cold, her frosts keen, her skies lowering, her
streams swollen, her roads rough, her mud deep, her
swamps miasmic, her uplands barren; to her constant
lover it is enough that she is what she is.

And her lover ever desires to have her to himself.
The real initiate of Nature will naturally avoid the main
highways and prefer to travel on foot. Not that he will
be the type of person who has a mania for showing
to the world how far he can walk. Such an individual
is a freak-athlete, not a lover of the earth. The
physical exhaustion of such exploits and the tenseness
of so much strain dull the finer edges of one’s recep¬
tivity and turn a natural happiness, full of delicate,
lightly caught sensations, into a stark preoccupied
endurance.

The whole essence of this great Nature-cult is to
store up and lay by thousands and thousands of
impressions. The memory can hold much more than
most people give it credit for; and the quickened
awareness of our days depends upon our memory.
The feelings that can be roused in us by innumerable
little physical impressions, coming and going upon the
wind, lost in the air, are feelings that bind our years
together in a deep secretive piety. Nor need we

181

THE MEANING OF CULTURE

ever be ashamed of such a secret life, hidden from the
uproar and clamour of the world, nor be bullied into
regarding it as selfish. Who knows? Who can tell?
It may well be that Nature herself - or at least our own
planetary Earth — depends upon such subtle ecstasies
in her offspring for her own indescribable self-realiza¬
tion. The feelings that move us at many moments
when we are alone with Nature, ‘with thoughts that do
often lie too deep for tears,’ seem to bring their own
justification. They associate themselves inevitably
with generous human emotions, with indulgence
towards all creatures, with pity for all creatures. And
although not consciously directed towards any form of
definite action, they give to all our actions a large, trans¬
parent background such as provides an inward escape.

A life deliberately given up, in the secret levels of its
being, to such a cult as this is not a wasted life; it is a
triumphant life. It fulfils some absolute purpose in
things that are outside and beyond the troubled fevers
of the world.

Let us suppose for a moment that the reader of this
book lives in some easterly quarter of the United
States. It seems to me of the greatest importance to
make exactly clear what from our present point of
view a person’s mind really gets from its contemplation
of Nature in such a place. Let my reader permit me,
therefore, a palpable example of what I am trying to
hint at. One leaves the streets of a town or city, let us
say, and after a few suburban avenues one reaches the
outskirts of the adjoining country. Here there may

18a

CULTURE AND NATURE

still be a few houses, even those absurdly freakish ones,
in the erection of which the uncivilized rich and their
aggressive ‘realtors* combine to make modern archi¬
tecture so barbarous a monstrosity; but between these
houses the open fields begin to appear and one catches
scattered glimpses of arable horizons or wooded hills.
There is grass, too, now by the side of the road; and
even if the road itself is cemented for motor-traffic there
is mud, wet or dry, in the ditch and possibly a dirt-path,
foot-trodden and hoof-marked, running beside it.
Here precisely is a situation wherein one may mentally
test oneself as to the presence or absence in one’s inmost
personality of the sort of culture defined in this book.

If you are totally alien to such a cult it will be only
by some unlucky accident that you find yourself on
foot at all just here. According to your habits you
would be rushing past this wayside plane-tree, this
wooden bridge, this dilapidated cattle-shed, this patch
of swamp-marsh, this group of wind-bent pines,
insensibly gripping the wheel of your car and thinking
of nothing but your affairs. That you are on foot at
all in such a spot, if not due to pure accident, witnesses
adherence to the cult of Nature. And then how
instinctively you will find yourself debouching from
that hard, concrete roadway and hastening to feel
under your boot-soles the yieldingness of the flesh of
the earth! Your whole nature will soon be absorbed
in watching that rack of clouds in the northern
horizon, that undulating pasture where a few black-
and-white cattle are grazing, that vast corn-field, now

i*3

THE MEANING OF CULTURE

interspersed with melancholy, piled-up cornstalks,
forlorn amid the close-cropt stubble.

Let us assume the month to be November, so often
sad. Turning your back to the traffic in the highway
and standing for a moment at the road’s edge you may
chance to see a thistle growing there or a solitary
dock-leaf or a faded, flowerless sprig of iron-weed or
milk-weed. This abject and forlorn plant, let us
imagine, is growing on the crest of a sandy bank
wherein at a glance you can see embedded certain
common fossil-shells - ammonites perhaps — and be¬
neath the stalk of the plant and a little above those
stone fossils you can catch a glimpse of the trailing
roots of a neighbouring elder-bush whose tarnished
leaves and dried-up seed-husks outline themselves,
like the head of that thistle or the leaf of that dock,
against the grey horizon. As you gaze at these things,
innumerable memories, drawn from a thousand
impressions of childhood, flow into your mind. The
blurred edge of that sandy bank, here a grass-blade,
there an empty snail-shell, the grey spikes of that
thistle, the texture of that dock-leaf, gather to them¬
selves a symbolic value as you stare at them. They
become representative of the whole mysterious face of
the earth, held up in that November greyness, haggard
and tragic, to that curved dome of grey vapour which
is all you can see of the overarching sky. And as you
continue to look at all this, concentrating your whole
nature upon it, and forgetting all else, it gradually
comes over you, that between your secret identity, -

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CULTURE AND NATURE

part physical, part psychic-and the secret identity,
physical and psychic also, of these stalks and leaves,
of these sand-grains and stone-fossils, there is a
reciprocity beyond all rational understanding. It
may easily be that the feelings you have at the sight of
these things do not amount to anything in the least
resembling an ecstasy of happiness; do not amount
to anything in the least resembling a mystical emotion.
That does not matter. What matters is that in the
calmest and most earth-bound manner you should
concentrate your thoughts upon the whole rondure of
the turning globe as it transports all its living burden
through measureless space-time, of which burden,
just now, this thistle-head, these ash-roots, this
tarnished dock-leaf, together with your own flesh-
covered human skeleton, are transitory fragments.

It is thus not merely the beauty of these little
objects — though there may be beauty enough in the
silveriness of the thistle, in the metallic lustre of the
leaf, and in the yellowness of the sand-which will
arrest your thoughts. You are more than an aesthetic
or artistic admirer; you are a lover! What you will
come to feel is a singular identity between your own
inner being and the inner being of these things. Nor
is this sense of identity, thus arrived at by a process
of quiet, steady concentration, any fantastic, mythical,
or even mystical experience. It is the calm recognition
of an absolute fact. Intuition and reason are at one in
regard to it. Your whole nature, in its physical and
psychical totality, responds to these other forms of

185

THE MEANING OF CULTURE

mind-matter thus presented to you, so vividly outlined,
against this grey November sky.

There is indeed a strange and profound satisfaction
in feeling this consciousness of identity between your
own transitory life and the transitory life of other earth-
products, whether organic or inorganic. Concentrating
upon such identity, there may even sometimes steal
over the mind a ‘sense of something far more deeply
interfused,’ the idea of a lastingness in fact of some
essence in them and in yourself, independent of the
annihilation to which all alike are moving.

It is true that nothing mitigates one’s fear of death
more profoundly than to be saturated with the processes
of the seasons and the chemistry of earth-life. If they
knew that they were destined to die in the open air
it would be an incredible relief to a great many people.
It is because the difference between the condition of
life and the condition of death is so slight in the world
of vegetation that any contact with all these roots and
stalks and leaves and seeds and flowers fortifies one
against the fear of death. The contemplation of the
heavenly bodies themselves, of the sun, the moon, the
planets and the stars is not so protective against the
fear of death as is the contemplation of the smallest
patch of green moss growing on an old stone wall.
This is because there is more direct affinity between any
green-growing thing, full of sap and sweet and bitter
juices, and ourselves, than between us and those
remote, scoriae, chemical luminaries. The expanse of
the starlit sky can be regarded as a poetic experience

186

CULTURE AND NATURE

or as a scientific phenomenon. In the one case it is
stimulating, in the other it is ghastly.

When one looks at a herd of cattle feeding in a green
pasture, under massive and aged trees, one experiences
an inflowing rush of confidence in regard to the basic
friendliness of the system of things, just as the sight of
a butcher’s shop produces dismay and distrust. One
is well advised to remain very sceptical about the
philosophic value of such feelings. But the feelings
are there, and they have their place among the many
contrary impressions that life brings. Because of a
certain mellowness in the hour and the occasion,
sights of this kind almost cajole us into a homely trust
in Nature for which there is little practical justification
and no rational support.

But what makes the thought of death a matter of
easier contemplation when we have saturated ourselves
with earth-odours and have drunk up the sounds and
sights of the country till they have sunk into our very
bones, is a certain dreamy affiliation with the sub-human
longevity of rocks and stones and trees. When you
are drowsy with the hot noon-sunshine or soaked
through and through with driving autumn rains; when
you have felt the dead leaves blown against your face,
or have stumbled long in the darkness among fallen
trees, or plodded stubbornly for hours through sand or
mud, a curious lethargy, sweet and wholesome as
the weariness of animals, patient and acquiescent as
the enduringness of tree-trunks, takes possession of
your consciousness, lulling it gently into a passive

187

THE MEANING OF CULTURE

amor fati or love of fate, which seems to accept death
and the idea of death with a singular equanimity.

It is just here that an adequate culture will make use
of whatever snatches and fragments of classical
literature may have come its way. For no writers
express this sunburnt, wind-bent, sea-hardened accept¬
ance of our common mortality with more majestic
dignity than do the old writers of Greece and Rome.
A very limited knowledge of Homer and Virgil will be
enough to prove how this kind of fate-loving resigna¬
tion, saturated with the sounds and sights of Nature,
can give a person a certain magnanimity in the presence
of death.

It seems somewhat of a disgrace to our race that we
so often need the prick of some kind of sporting
instinct to drive us to spend long continuous hours in
the country. It is, of course, true enough that many
people, led on by a passion for sport, imbibe indirectly
and as it were sideways, a more insatiable craving for
Nature than many more harmless men and women
ever possess. But how unnecessary it does seem, from
a philosophical and humane point of view, to blend our
happiest moments with the sufferings of such vibrant
fellow-sensibilities and kindred nerves 1

There is some excuse if you want to eat what you
kill; but in the case of catching fish there is really
something that one feels to be repulsive about using
worms or any other live bait; and most fish can be
caught without recourse to such devices.

There is no necessity to make a pedantic cult of the
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CULTURE AND NATURE

sturdy self-conscious epicurism of prolonged walking-
tours. There is however a certain type of bachelor or
spinster who enjoys these solitary excursions with a
delicious gusto; and it is certainly true that there is
nothing that makes a deeper dent upon the mind, or
comes back upon the memory with a more magical
thrill, than the sensation of entering some unknown
town or village in the falling twilight, when the lamps
are just being lit and one can see the roofs and the
chimneys against the evening sky — especially if one
enters such a town over an old river-bridge!

The particular type of egoistic, solitary wayfarer, to
whom I allude, may indeed be a very learned man or
woman. One must insist however that such an adept in
lonely walking-tours has no cause to assume any
superior airs over the less adventurous individual
whose walks are confined, like those of the poet
Cowper, to the banks of his own stream or the purlieu
of his own village. In fact, when this subtle Nature-
cult, wherewith this chapter is concerned, is made a
secret source of pride in the depths of a person’s life-
illusion, such pride should take but one form alone.
It should take the form of being able to derive thrilling
ecstasy from the most common, ordinary, and familiar
natural objects; objects that it is not necessary even
to leave one’s doorstep to encounter; objects like
earth-mould, tree-tops, grass-blades, flower-pots, privet
hedges, walls and chimneys against the sky, and always
the sun and the moon and the heavenly bodies,* in their
irreversible order!

189

THE MEANING OF CULTURE

The lover of walking-tours, of dreamy sojourns in
propitious wayside inns, of meditations in old grave¬
yards and historic places, of bivouacs among precipitous
ascents and lonely summits, of long wayfarings by the
sea’s edge, will often be found to be a great reader of
books. He will even, Uke the present Pope, Pius XI,
be sometimes an extremely erudite philosopher.

But perhaps what lends itself best of all to such an
inveterate epicurean cult is some leisurely old dis¬
cursive book, such as a volume of Montaigne’s
‘Essays,’ or Sterne’s ‘Tristram Shandy,’ or Rousseau’s
‘Confessions,’ or the ‘Essays of Elia,’ or even perhaps
the ‘Essays’ of William Hazlitt, which one can pick
up and lay down at any moment.

One might suppose that one or other of the tragic
plays of Shakespeare, or one or other of the longer
novels of Dostoievsky, would serve the turn of these
solitary wayfarers; but as a rule, I fancy, their particular
psychology is, like that of George Borrow, optimistic
rather than pessimistic. They are no ‘Melancholy
Jacques,’ these people. They will be found selecting
Rabelais rather than Swift to prop against their beer-
mug at the ‘Valiant Sailor.’

One cannot help reverting to these pleasant, selfish
rogues, these pilgrims of ‘the Ideal Road,’ with a
certain tenderness. But they are congenital eccentrics.
They are indeed, just as Borrow was, often very
conceited eccentrics. They are devoid of the ultimate,
authentic seriousness as far as the human spirit is con¬
cerned. Thoreau was not a little tarred with their

190

CULTURE AND NATURE

brush. There is a tincture of priggishness in it. They
have their own originality, these wilful tollpike fellows;
but where real liberal culture is concerned, they lack
a certain universal humility and natural humanity,
which make Homer and Shakespeare, ani even Sir
Walter Scott, better teachers of wisdom than Robert
Louis Stevenson.

In fact all sorts of very interesting psychological
nuances deserve to be analysed here, and the longer
one considers this problem of self-culture in relation
to Nature, the further one comes to recognizing the
importance of a Quakerish quietism in these delicate
matters. What I mean is, one suffers so often from a
sort of fussy, chatty, bustling, over-genial camaraderie
in regard to this open-air cult; an attitude which con¬
siders itself akin to that of Walt Whitman, but has
really not the remotest connection with Walt Whit¬
man’s formidable planetary acceptance of vast streams
of cosmic life.

The real Nature-worship is very different from these
priggish affectations; and is so important to the person
who practises it that he is prepared to sacrifice many
precious feelings for the sake of the sensations he
loves. There are passages in Wordsworth, for instance,
that seem to lead up to an almost inhuman stoicism,
and indeed, here and there, to an inhuman subsuming
of all natural personal affections in a certain feeling
for the mysterious Earth-Spirit.

Such a pantheistic experience is a frequent and very
natural accompaniment to lonely walks in the country,

191

THE MEANING OF CULTURE

and is certainly something that ought to be enjoyed
to the extreme limit, irrespective of any logical
restraint.

But on the other hand we need not feel we are lacking
in any grand secret of culture if a certain scepticism
in our inmost being refuses to allow us this mystical
abandonment. What has been called cosmic emotion
is not the only way of embracing Nature; nor is the
pantheistic ecstasy the only ecstasy allowed to lovers
of the earth.

To minds devoid altogether of that philosophical
background which is the beginning of wisdom, it may
appear absurd that we should be driven to find names
for the different types of feeling to which we give
way. But those who know anything of human nature
know that it is by means of the condensation of mental
images around some particular pivotal point that new
life is given to things. Such a pivotal point is a name.
A bird, a flower, a star, while it is un-named, is for the
human mind endowed with only half of its possible
reality.

Let us, for instance, take the case of that peculiar
approach to Nature that might be called polytheistic.
As soon as a person begins to recognize that the feeling
he has for a certain field, or mountain, or valley, or
stream, or even for a certain tree or plant, carries with
it nothing of that sense of a great Universal Spirit at
which Emerson and Wordsworth are always hinting,
and yet has something in it beyond mere material
pleasure, it will give to that person's emotion an added

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CULTURE AND NATURE

intensity when he realizes that what he feels has had
for thousands of years its own name and is in reality
identical with that old animistic inkling of superstitious
suspicion, that the world we gaze at is, so to say, full
of gods.

It is in the poetry of Keats, beyond all others, that
this mythological way of apprehending Nature finds
its consummation. Matthew Arnold uses the expres¬
sion ‘natural magic’ to describe it. What it really
implies seems to be that hidden in the separate identities
of Nature, in each tree, each plant, each rock, each
stone, each tuft of moss or lichen, there dwells some
sort of particular Genius, the soul, as it were, of that
individual thing, born with it expressing its living
essence and destined to perish with it.

I have already referred to the importance of names
even in the matter of philosophical conceptions. How
much more are they important in the matter of plants,
birds, trees, animals, fishes, butterflies, and the
constellations of the stars at night! Here indeed is one
of those instances where culture absolutely depends on
knowledge. Without knowing the names of these
things —at least their ordinary, popular, English, or
local names - how is it possible to enjoy Nature to the
full? If it is not a silly affectation when people declare
they enjoy these things more freely without knowing
their names, it is certainly an ignorant and foolish
boast. Each planet, each plant, each butterfly, each
moth, each beetle, becomes doubly real to you when
you know its name. Lucky indeed are those who from

g 193

THE MEANING OF CULTURE

their earliest childhood have heard all these things
named. This is no superficial pedantry. Deep in the
oldest traditions of the human race dwells the secret
of the magical power of names. Only by knowing
the names of demons were such beings controlled;
and the legends which indicate the mystery and
secrecy which hung about the names of certain of the
gods bear witness to the same strange potency. If
one named a supernatural personage by his true name
one did not conjure or invoke him in vain.

Let it be understood that it is by no means necessary
for the purposes of an imaginative life to possess any
elaborate knowledge of what are called the scientific
laws of natural history. Technical botany, for instance,
is of no importance to real culture compared with
field botany. The purpose of culture is to enhance
and intensify one's vision of that synthesis of truth
and beauty which is the highest and deepest reality.

A cultured person, therefore, regards Nature with
what might be called a Goethean, rather than a Newton¬
ian, eye. He trains himself to see and to feel, rather
than to analyse or to explain. His attitude to Nature is
indeed what Milton said all poetry should be, ‘simple,
sensuous, and passionate.' The ecstasy he derives
from Nature will vary, of course, with each individual
temperament; but it will have this in common, that
it draws its life from life , rather than from the dissection
of the cadaver of life.

Two men, let us say, are standing together upon a
high promontory overlooking the sea. The one is

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CULTURE AND NATURE

preoccupied with a scientific analysis of the organic
chemistry of the verdure on the edge of the precipice.
The other grows from moment to moment more aware
of the ultimate mystery of land and water, and of the
planetary roll of the whole terrestrial orb, as in its
motion it follows the solar path through space. Must
it not be allowed that it is this latter, rather than the
former, who has the richer and deeper culture? To
take nothing in Nature for granted — that is the root
of the matter. To awake in the morning to each new
day as if one were only just born - born afresh with
a mature intelligence, and as if the earth and the sea
and the air and the sun were miraculous new experi¬
ences, realized for the first time at their face value-
such seems to be the method of true wisdom. Many
scientific specialists, full of intense curiosity in their
laboratories, fall into the most Philistine dullness of
perception the moment they pass into the normal
experiences of life. What culture ought to do for us
is to sweep away that crust of quotidian familiarity
which blinds us to the thrilling magic of life, and
bathe us afresh in the luminous pools of being.

There is not the remotest reason why we should not
treat Nature sentimentally or even idealize her extra¬
vagantly. It does indeed appear from the very latest
discoveries of science that not one particle of so-called
material energy exists in the world without some
concomitant psychic attribute, commensurate with
what we call semiconscious or ‘vital’ energy. Just as
to-day philosophers speak of ‘space-time’ instead of

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time and space, so physicists appear compelled to
speak, not of‘force’ or of‘atoms,’ but of‘mind-matter,’
as the residual stuff of reality. What, therefore, used
to be derided fifty years ago as the pathetic fallacy,
namely that Nature feels, in some intimate way, even
as we ourselves feel, must now be regarded as some¬
thing approximately true. Fast and faster every year is
the purely mechanistic conception of life receding and
being discarded; and thus the instinctive old-world
response to Nature, as something living, in the same
sense as we ourselves are living, that poetic response
which correlates the ideas of Homer with those of
Goethe, and the ideas of Leonardo with those of Ein¬
stein and Eddington; that response which is made,
not by reason alone or by imagination alone, but by
what Matthew Arnold so admirably called the
‘imaginative reason,’ returns upon us to-day as the
most comprehensive as well as the most simple reaction
which our mind, under its present mortal limitations,
is able to experience. It is indeed only when we are,
for a little while, quite alone with Nature, that our
basic philosophy falls into focus and we are able to
see things in a true perspective.

Let any reader of this volume gather together the
forces of his inmost being as he stands under any sort
of tree upon any patch of bare earth or uncut grass,
and let him feel himself as a human animal, unique
among his fellows in his own peculiar personal
sensations, carried through space-time on the surface
of this terrestrial orb! Let him obliterate from his

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mind all the tiresome preoccupations of his job, of his
money difficulties, of his worldly, professional, or
domestic cares. Let him visualize his life from its
conscious beginning to this actual moment in its
general outlines, with its miseries and its compensations
glimpsed spaciously, felt largely, as from an airy height.
Let him recognize the essential residue of what real
love he has for what real living or dead companions.
Let him face the reality of death, as he has never
perhaps faced it, in all its ghastly finality. Let him
at that moment practise the art of forgetting to its
extreme point; so that whatever the particular horrors
in life are, the ones that have worried him the most
are calmly set aside upon his mind’s rubbish-heap or
flung into his mind’s oblivious limbo.

Then let him give himself up to the warmth of the
sun as it falls upon that tree-trunk and that patch of
earth, or to the greyness of the clouds and the chill of
the wind as these things press upon him and make
desolate this place of his retreat. From both the
generative warmth and the sorrowful wind a strange
happiness will reach him if he retains his concentrated
receptivity of mind; for the deep fountains of his
memory will be stirred simply and solely by that
passive attitude of his which has obliterated worry
and care. Then will all manner of old obscure feelings,
evoked by both sun and wind, warmth and cold, earth
and grass, air and rain, rise up in his mind. And he
will remember certain street-corners where the evening
light has fallen in particular ways. He will remember

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certain bridges where the rain-wet stones or the mosses
have taken on a certain delicate sadness, or have
pierced his heart ‘with thoughts beyond the reaches of
his soul.’ He will remember the tarry smells and the
salty breaths of this or that harbour-mouth, passed
carelessly enough at the time, but returning upon him
now as of the very essence of his life. He will remember
how he once came up the slope of a far-off hill, follow¬
ing some half-forgotten road; and there will come
upon him vague memories of remote gates overgrown
with elder-bushes and with tall nettles; memories of
bare beech-trunks, God knows on what far uplands, of
stranded barges in stagnant back waters, of green
seaweed on lonely pier-posts, of glittering sun-paths,
or moon-paths, on sea-waters and river-waters, of
graveyards where the mounds of the dead were as
drowsy under the long years as if the passing of time
had been the passing of interminable flocks of sheep.
Thus will he tell like beads the memories of his days
and their long burden; while the unspeakable poetry
of life will flood his being with a strange happiness.

If he waits long enough, thus standing alone, thus
staring at earth and sky, there will even, perhaps, come
over him that immemorial sensation, known to saints
and mystics from the beginning of time, wherein the
feeling of all outward things is lost in a singular
ecstasy. If he is a lover, or has a friend he loves beyond
all, the identity of this friend or of this love will be
with him in this ecstasy. It will be as if he carried this
friend, lodged in the cor cordium of his own being,

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so that it is with a double nature that he embraces the
secret of the universe, freed from all care!

Some peculiarly constituted persons, as was the case
with the mediaeval ascetics, feel that they cannot attain
such ecstasy in the presence of Nature without some
degree of fasting and prayer. No rationalist, no free¬
thinker, has a right to quarrel with this austerity unless
it seriously injures the health of those who practise it.
A limited degree of asceticism is a natural concomitant
of such sweet practices. But if a person’s physical
disposition is congenitally so wellbalanced as to make
it an easy and unforced habit with him to forget
completely the chemistry of his body when he is very
happy, what is the use of fasting?

And if a person’s culture has long given him the
habit of sinking back upon the depths of his being and
upon the ultimate mystery of self and not-self, so that
it has become a custom with him to hold a secret
dialogue with hypothetical first cause, it is with him,
already, as though to breathe were to pray. It matters
little under what mental image or conception he has
come, by reason of his original temperamental bias, to
visualize this first cause of all life. As has been already
suggested, his attitude towards it will partake of a
double gesture — a gesture of boundless gratitude and
of stoical defiance. This, if he be honest with himself,
will surely be inevitable; for must not such an hypo¬
thetical first cause be at once the fountain of all good
and of all evil?

The probability is that at these moments of ecstatic
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fusion with Nature nothing but the former of these
two gestures will prevail. The defiant gesture will
remain temporarily in abeyance, only to return when
the ecstasy is over.

If it is a sure sign of an uncultured mind to allow
one’s own casual chattering to interfere with one’s
enjoyment of Nature, it is a still surer sign of this
lack of control to permit one’s thoughts to dwell on
worrying topics in place of compelling oneself to
look at every detail, to smell and listen and to touch
everything; keeping all one’s senses alert for changes
of wind and weather and for the most vague and
flickering influences of place and atmosphere.

Nothing is more important than to acquire some
habitual way of regarding Nature, some way of
gathering together all one’s consciousness and sensi¬
bility, so as to react to Nature in the exact manner,
that over a long period of time we have learnt to be the
most satisfying. This attitude of ours ought to become
at last more than a deliberate thing. It ought to pass
from a conscious habit into an automatic, instinctive
gesture, such as the totality of our being inevitably
makes the moment we are alone with Nature. Nothing
is harder than to feel alone with Nature when really
we are with our companions; but this art also we must
gradually acquire.

Now what is the best habitual way of reacting to
Nature? What does this gathering together of one’s
sensibility in her presence really amount to? In the
first place, it seems to me, it must imply that basic

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gesture of our solitary ego towards the hypothetical
first cause; that dual gesture of unbounded gratitude
to life and unbounded defiance of life. This first
attitude deals with whatever we can imagine to our
limited mind as existing behind Nature and being the
cause of Nature. In the second place it must imply,
so it seems to me, an intense and growing awareness
of the surface of Nature. We touch here upon a very
crucial and important point. It must be admitted
that to many human minds there is a peculiar satis¬
faction in feeling as if all the outward things, such as
earth and water and sky, were penetrated by some inner
spirit or force, which, as Wordsworth says, ‘rolls
through all things/ If this way of feeling is natural
to you — and indeed there must be admitted to be a
thrilling pleasure in it - there is no earthly reason why
it should not be indulged to the extreme limit. Since
it is so deeply involved with the psychic processes of so
many minds, and since it belongs to an immemorial
human tradition, it would seem probable enough that
like the kindred idea of the existence of God it repre¬
sents some truth in the system of things that refuses
to lend itself to the exact requirements of logic and the
precise exigencies of reason.

But while this spiritual view of Nature, or this
irrational feeling that there is a spirit in Nature, has a
powerful influence over such personalities as are fated
to feel its sorcery, there is no reason why such as do
not feel anything of this kind should be ashamed of
their limitation. It remains quite possible, on the

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contrary, that such people are right; and that the whole
notion of a Spirit interfused through Nature is an
illusion. In either case it would seem the part of a
wise man to concentrate the chief powers he may have
upon those things in life which are objective and
tangible and sure —though in reality they too may
easily be of the stuff of dreams. To be of the stuff of
dreams is perhaps a much more solid degree of reality
than to belong to a vast all-penetrating spiritual force
which must for ever remain uncommitted to any
palpable shape or form.

On the surface of Nature’s forms and shapes there
are a thousand undulating emanations, flowing here,
floating there, dependent upon the innumerable
caprices of chance and occasion. These emanations,
wherein the shadows of clouds, the flickering of broken
lights, the motions of winds, the winged atmospheres
that come and go around us, blend with something
that emerges from each separate individual living
thing, and make up together that mysterious essence,
that some have called the magic, of the universe. This
magic seems to rise up from the appearances of Nature
and to sink amid the appearances of Nature. It is
indeed the flickering and the flowing of a presence
that is at once psychic and material; and though non¬
human in its essence is so deeply associated with our
nervous life that it over-brims in every direction our
conscious awareness and excites magnetic vibrations
which touch our subconscious memory and rouse up
strange responses in the imagination.

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It will be noted that this magic of the universe
always emanates from the surface and always returns
to the surface. It is the breath, the bloom, the frag¬
rance, the flickering expression upon the surface of
life itself, and always seems more authentically the
secret of Nature than any hypothetical spirit to be
sought for below life. We thus arrive at the conclusion
that what might metaphorically be called the soul of
Nature dwells upon the surface and not beneath; and
is associated with the lights and shadows that flicker
across the surface rather than with any subterranean
energy seething below. And not only do we reach
the conclusion that the soul of Nature dwells upon her
material surface rather than in any ‘spiritual’ depths,
but that it dwells on this surface rather than in any
structural anatomy of things or any inorganic chemistry
of things. In other words it is in the breath and bloom
of the animate and in the lights and shadows, the tones
and tints of the inanimate, rather than in any electric
or chemic forces underlying these, that the poignant
reality of Nature lives and moves. It therefore presents
itself as irrefutably true that the real lover of Nature
is of necessity preoccupied with the appearances of
things as they attain their symbolic significance. The
superficial is thus the real essence. Nor is this a wanton
paradox.

The superficial aspects of Nature are the entelechy of
Nature; and those who give themselves up to them
most completely are those who have been initiated
most deeply in Nature’s creative ways. The character

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THE MEANING OF CULTURE

of things and their true symbolic value is not to be
found in the manner in which things originate, but
in their issue and consummation.

One of the deepest secrets connected with any
habitual awareness of Nature is her gradual influence
upon the resistant and stoical elements of our being.
This particular influence works best when the kind of
landscape around us has certain qualities of austerity.
Walking along lonely roads, walking across bare
prairies or barren uplands, walking along solitary sea-
banks or desolate sands, there is a grim feeling of
communion with the primeval elements such as one
misses altogether in luxuriant or picturesque scenes.
Something stark and steadying comes to us out of
the driving rain, out of the burning sun, out of the
tossing wind, in such lonely walks; something that
seems to force us to resemble the character of wind-
beaten tree-trunks or of weather-stained rocks, some¬
thing that by slow degrees conveys to us a strange
power of deriving happiness from the mere process of
resistance. It is indeed nothing less than resistance
that becomes then the ultimate secret of life. And well
it may. For when anyone regards life philosophically
and from the deepest stratum of his being, resistance
comes very soon to sum up the ultimate situation of
all human entities. There is the self and there is the
not-self; and these two confront one another at such
times free from every mediator.

At such times too, the force of the wind, the wet of the
rain, the hot fury of the sun, the touch of the earth, sand,

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grass or rock simplifies one’s human personal history.

The other people in one’s life grow then more
emphatic. They are more intensely thought of,
realized, considered, placed. The one person, if there
happens to be one, who is dearest of all, is at such
times carried on the shoulders of our consciousness,
very much as the celestial Babe was carried on the
shoulders of St. Christopher. Those affairs, relations,
matters in our life which call for certain restrictions
and restraints in us, perhaps even sometimes for a
vein of renunciation, are accepted at such times, under
the influence of these stark elementary powers, with
an easier mind. These great simple powers as they
work upon us - this wind, this earth, this sea, this
forest - come to enable us in a curiously stoical manner
to accept our fate.

And not only to accept it. If we have reached the
point of deriving a certain stubborn happiness from the
mere process of resistance we actually come, not only
to accept our fate, but in a strange way to love our fate.
It is perhaps only by long subjection to the elements,
by putting up with rains and winds and frost and sun
for a long while, that we come to share the stoicism of
trees and animals. Nothing goes deeper into the heart
of things than the stoicism of a wind-bent tree or of
an old horse. It is this that explains the expression
one often sees upon the faces of very old people in
country places. It is an expression of nothing less
than a sort of non-human love of fate. Country
people have many mean and vicious characteristics

aos

THE MEANING OF CULTURE

from which town people are free. Continual contact
with Nature evokes evil qualities as well as good
qualities. But there gradually comes into existence
with country people, as the result of intimate associa¬
tion with the changes of the year, with the morning
and the evening and the night felt to be living
presences, and with rains and dews and burning noons,
a certain obstinate patient passivity, a certain lying
back upon life, which is a great mastery.

There is yet another thing that our intellectual
culture can get from living closely with Nature, or
even — if our fate has lodged us in a town — from
spending one day a week in close contact with her; and
that is a sense of imaginative proportion. By imagin¬
ative proportion I mean a vivid realization of the tragic
disasters that happen to all living things and a recogni¬
tion of the extraordinary value of mere normal well¬
being. In a town the ambulances so quickly dispose of
hurt men and women; and now that machines have
taken the place of horses the tokens of accident are
more quickly obliterated. But in the country, faced
by the realities of Nature, you are surrounded con¬
stantly by shocking evidences of disease and death.
Dead rabbits, dead sheep, dead crows, dead snakes,
dead trees waylay your steps; and the consciousness
of the terribleness of what may at any second happen
to yourself tends to throw the issues and the dilemmas
of life into a certain drastic perspective. All these
grim sights of tragic birth and tragic death, and the
deep solitary endurances among the beasts of the field

zo6

CULTURE AND NATURE

and the birds of the air, make a person regard certain
human contacts with a stark, hard eye; while at the
same time one’s feelings for one’s parents, or offspring,
or mate, grow more rooted as the years go on. What
any close contact with Nature really does for a person’s
culture is to get culture itself into focus; so that no
tricky affectations or morbid selfconsciousnesses, no
melodramatics with regard to art or with regard to
one’s own originality, spoil one’s stark, simple, natural,
proud-humble contentment at being exactly what
Nature has made one to be. Beside a sick sheep — with
the look one knows too well in its eyes - beside a dead
rabbit or a hawk-killed bunting or an old labourer
with his legs pitilessly curved by indurated rheumatics
into two spindly ox-horns, one loses the finickiness
of much fussy self-assertion.

Contact with Nature has, in fact, a profound effect
upon that portion of our character which has to be
drawn upon when we decide on any drastic integrated
resolution. There is a certain fidgety preoccupation
with other people’s feelings which disappears in the
presence of the indomitable loneliness of so many
living things. One cares less and less what other people
think of one. It is this that gives to many old carters
and shepherds such a strangely isolated air, as if they
possessed some secret rapport with levels of existence
where human conventions count for much less than
they do among the rest of us.

There is also another very important effect upon
one’s culture that such closeness to Nature gives; and

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THE MEANING OF CULTURE

that is to make one realize the value of a certain funda¬
mental power possessed by the will. This power of
the will is limited in its control over outward events;
but it is almost unlimited in its control over the motions
of one’s own mind. The more often one uses it in this
direction the more formidable does its strength become.
It would seem that the grand master-effort of the will
should be directed - such, at least, appears to be the
tendency one gathers from animals and birds and
plants — towards keeping clearly before one’s con¬
sciousness the idea of a certain thrilling calm of mind.
This is the consciousness that a state of ecstatic peace
is the deepest secret of the universe at which we can
arrive. If the will is stubbornly orientated towards
such ecstasy, one’s inner self does actually begin to
grow happier and happier. This or that thrilling
moment will, of course, come and go as it always has
done; but the stiffening of the will into a certain
pattern of obstinate quiescence carries us a long way
towards this calm energy of peace.

The endurances of animals and birds and plants,
each in its lonely isolation, brings one finally to a stark
conclusion - the conclusion, namely, that the will has an
almost unbounded power over one’s own secret and
private reactions to life. Any long practice of these’
primordial wrestlings produces the feeling in us that
the whole stringency of the cosmic situation is an affair
of the solitary individual’s consciousness. Whether
one is happy or unhappy comes more and more to
be the one single issue over which one has a nearly

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complete control; and it becomes too, more and more
emphatically, the only sure and certain help one can
offer — except the magical power of love —to ‘the
stream of tendency that makes for righteousness.’ All
outward actions, every overt thing we do, every splash
we make in the great tide, has a fatal tendency to
produce as much harm as good. We observe this
daily and nightly if we live close to the earth. The only
two things that we finally come to distinguish from the
rest as invariably resulting in good rather than evil
are our own deep individual calm, obstinately preserved
in spite of all blows of fate, and the sort of love for
other individuals which is compatible with our leaving
them alone. The love that interferes and knows not
how to leave alone is a love alien to Nature’s ways;
and, as everyone knows who has looked into the eyes of
snakes, birds, toads, geese, and seagulls, there is an
up welling from the heart of Nature of a resolute will
to be happy in spite of all, which is stronger than any
creed, deeper than any philosophy, and more potent
than any renunciation.

Finally, in a philosophical sense one can derive for
one’s culture untold benefit by living close to Nature.
The philosophy which serves one’s turn best is, as has
been already hinted, a philosophy that sweeps away
every mediation that comes between the individual
ego and the unknown first cause. Unknown,
unknowable, this non-human, good-evil power evades
all definitions. It is so strong and yet so weak; so
kind and yet so cruel; so comforting and yet so ghastly;

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THE MEANING OF CULTURE

that one can only think of it in opposites and approach
it in images. But when one walks, for a long while,
alone over grass or sand, over rocks or forest-floor,
one seems to become aware that every individual
growth, every living leaf and stalk and tendril and
grass-blade is enduring and waiting in mute expec¬
tancy; bearing its peculiar mystic burden at the great
crossroads of our finite space-time; while all the time
it is secretly drawing a strange, magnetic, unspeakable
contentment from some level of existence altogether
beyond those boundaries. For this happiness it returns
thanks to that first cause; in its long endurance it
defies that first cause.

The singular thing about the influence of Nature
is that it enhances the intensity of this dualism between
gratitude and defiance by giving one the feeling that
all around in every direction living sentiencies are
experiencing the same double emotion. Mysterious
gratitude — mysterious defiance — such seems to be the
attitude of Nature herself to the unknown Power that
begat her; and this attitude, we, her innumerable
offspring, share with our great unscrupulous Mother.
But although the ultimate gift of Nature to our culture
is this double-edged response, it remains true that
what one naturally feels in any kind of reaction to
simple scenery is an obscure impression — not of any
first cause at all - but of a floating, airy company of
invisible presences, the genii and tutelary spirits, as
it were, of the streams and rocks and plants and trees
among which we move and pass.

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It is so important that the impressions of Nature,
such as I am attempting to analyse, should be felt in a
clear and unambiguous way that, if my reader will
permit me, I will recapitulate and sum up again the
whole situation as I see it. I will set him in some open-
air spot as vividly imagined at this moment as the
fancy of author and reader, exerting themselves
together, can manage to conjure up. It shall be, if
you please, in the presence of some fence, or wall,
or hedge, at the edge of a field, overgrown with a
variety of tall, straggling weeds. Let us suppose that
the day is windless and that all these entangled growths
are motionless in the undisturbed air. In dead silence
one stares at this inaudibly-breathing vegetation; and,
as one stares, the impression gradually emphasizes itself
that the dominant feeling of all these growths is a mute
expectancy. Expectancy of what? Ah! that none can
tell! But something in one's own heart and one's own
psychic mood answers in intimate correspondence to
this curious waiting, this waiting with indrawn breath.
And as we stand there, allowing our identity to sink
back upon the final mystery of life, it seems as though,
in a wordless dialogue with the eternal, we at the same
time accuse that unknown of the sufferings of all
sentiency and offer thanks to it for the happiness of
all sentiency.

But this is only the underlying pulse-throb of what
we feel. Along with this there spreads about us, upon
that hushed air, a vivid awareness of the magical
effluences proceeding from those leaves and stalks.

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THE MEANING OF CULTURE

Vibrations and quiverings, half-material, half-psychic,
flow through them and through us, and an innate
reciprocity — to use a phrase of Hardy’s — establishes
itself between us in that small cubic dimension of
matter and ether.

Nor is this the end of it. Following upon all this,
any man or any woman, thus worshipping the whole of
Nature in a patch of entangled weeds, begins to grow
vividly conscious that Nature is much more than a
dimly-realized whole. Nature in fact begins to present
herself as a vast congeries of separate living entities,
some visible, some invisible, but all possessed of mind-
stuff, all possessed of matter-stuff, and all blending
mind and matter together in the basic mystery of
being. It is, in fact, just here, as we continue to stare
at these entangled earth-growths, that there is borne
in upon us the boundless polytheism of the universe.
The world is full of gods! From every plant and
from every stone there emanates a presence that
disturbs us with a sense of the multitudinousness of
god-like powers, strong and feeble, great and little,
moving between heaven and earth upon their secret
purposes.

Liberating however my already exhausted reader
from the tension of awareness to which I have subjected
him, does it not appear, granting to the full the
immense divergency between different temperaments,
that what any intense preoccupation with Nature can
do for our human culture is to enlarge its capacity for
mystic-sensual enjoyment? The basic purpose of this

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CULTURE AND NATURE

book is simply to hint at ways and methods by which
the subtle antennae or sensitized feelers of personality
can exploit our common experiences.

When one notes the extraordinary manner in which
life is mingled with disease and with death in Nature,
almost all living things bearing about with them the
burden of something that is fatally diseased or that is
already dead, one is encouraged to use one’s will more
resolutely in abating no jot of hope. Nature and the
much-enduring creatures of the earth can convert
us by degrees from every morbidity, from every one of
those subjective madnesses from which we all suffer,
each after his own fashion. If withered weeds, if
lightning-struck trees, if wounded animals and hurt
insects, if mangy dogs, rats with three legs, moths
with lost wings, fish with bleeding gills, beetles
attacked by parasites, thorn-bushes bent double by
relentless winds, rocks cracked by volcanic convulsions,
blinded hawks, caged birds, snared rabbits, cattle
destined for slaughter, can all manage somehow, in
their enduring stoicism, to draw some obstinate and
stubborn satisfaction from the mere fact of being still
alive; and if, as one has an inkling is the case, such
lives can tap at moments strange thrills of happiness
from one knows not what levels of existence altogether
below the reach of their distress, how much more can
we, with our more cultivated powers of will and our
subtler mental devices, work the same indomitable
sorcery.

It is most evilly true that pain is deep. Physical
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THE MEANING OF CULTURE

pain, mental pain; deep is this accursed conspiracy
encompassing all life. But from Nature we get eternal
whispers that happiness is deeper than pain. Yes —
what we call culture is in reality only an elaborate,
intellectual cunning, directed towards the snatching
of happiness under the very jowl of the dragon. If
there is any device, any crafty trick, any residual
wisdom to be gathered from Nature it is surely the
art of forgetting. No natural entity one ever encounters
but has acquired, by a laborious process of experience,
some measure of this sly art. To be able to forget, to
start fresh, to renew our days with a profound vita
nuova y such is Nature's hint, — for ever repeated in a
thousand different tones. The sun scorches up the
past, the rain washes out the past; the wind blows it
away, the earth swallows it up. My brother, Llewelyn
Powys, feels that there is in life a perpetual sinking
down and sinking back, an everlasting landslide, of all
sublunary things; a slide of the reasonable into the
unreasonable, of the formed into the unformed, of the
distinct into the indistinct, of what has come out of the
shapeless, back again into the shapeless!

But while we make use of Nature in these various
ways to enlarge and to steady our philosophy, it must
be remembered that Nature can be an enemy to culture
as well as a friend. This dangerous and evil influence
of Nature is something that is as insidious as the seeds
of henbane and as fatal as the juices of nightshade.
No one who knows anything of existence in the
country is ignorant of certain malign and ill-starred

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CULTURE AND NATURE

powers at work there, powers as hostile to any harmo¬
nious human life as the worst criminals and the worst
smart people of the metropolis! How often does
habitual work on the land turn to flint or stone the
inherited sensibility of a farmer, of a peasant proprietor!
How often does the breeding of beasts for the market
brutalize a man's mind and dull the sensitiveness of his
imagination till he resembles a clod of dung! What
callous, vulgar wretches so many among our colonial
settlers are, full of such ferocious preoccupation with
their exports and their cargoes that their hearts have
grown harder than fossilized sea-urchins! One has
not had much experience of life if one still cherishes
the illusion that when a man’s body has been long
subjected to the influence of the elements, his heart
and his intellect must necessarily have grown subtle
and sensitized. It requires a shock too miraculous to
be quite natural to convert the tough ruffianism of the
Peter Bells of this world. The real Peter Bells usually
perish as they have lived, impenitent, insensitive, sly
as foxes, greedy as hogs, vindictive as rogue-elephants,
blood-thirsty as weasels. Nor does great creative
Nature pause for one minute to discourage such
scoundrels in their villainous malpractices. Rather, if
anything, does she encourage them.

We must therefore make a mental note of the signi¬
ficant fact that while it is from Nature that certain
large, lovely, luminous visions of life rise up before us,
it is also from Nature that hard hearts learn to be
harder; ferocious vices find hideous justification;

*1$

# THE MEANING OF CULTURE

loathsome insanity is pushed on to nourish itself on
kindred madness; while inert, hopeless despair is led
to drain the last dregs of its destiny.

Yes; the mind that seeks to gain control over its
fate upon earth will do well to beware of Nature. Like
all the greater gods, Nature has to be dealt with in a
certain very crafty way, the full secret of which is
revealed to few. Nature, as Leonardo declared, may
be the mistress of the higher intelligences; but if the
higher intelligences do not draw upon a certain
magnetic force that seems to dwell beyond Nature,
the great feline Mother will soon corrupt them with
her own sub-human treacheries! Upon Nature and
through Nature, each undivided mind must work out
its fate; but our culture has been a too compact and
too tightly contracted thing if it has not come to feel
that there is always a certain portion of its being that
can detach itself from Nature.

A true culture will never be entirely committed to
any particular religion or any particular mystical theory;
but on the other hand it will never cease to make use
of the long struggle of the human spirit to lift itself
above the ferocious life-and-death contest of Nature’s
savage arena. It will never lose touch with the cumu¬
lative tradition of pity and tenderness which is our
final human protest; a protest which draws its force
from some far-off Unknown, and is lifted up against
both the inert malice of matter and the deep unscrupu¬
lousness of the great mother of life and death.

216

CHAPTER X

CULTURE AND THE
ART OF READING

At the bottom of all culture lies some fundamental
attitude, half-conscious, half-unconscious, to the
hypothetical first cause of all life. One is forced to use
the modifying word ‘hypothetical’ because the very
concept of cause itself may well, as Hume hints, be an
illusion; but since the only causative energy we are
aware of, so to say, from the inside, is the causative
energy of our own interior being, it seems as if any
drastic introspection is bound to land us in some sort of
ultimate dualism, wherein what we feel to be ourselves
confronts what we feel to be an all-inclusive not-self.
And it is to this ultimate not-self that our basic solilo¬
quy with life is directed, sometimes, as has been already
indicated, in ecstatic gratitude, sometimes in calm,
stoical, implacable defiance.

Gathering up our forces to cope with the shifting
stream of impressions that flow in for ever upon our
waking hours, we come by degrees to realize that our
ultimate virtue lies in forcing ourselves to feel and to
be what is called happy; and to be this in spite of all
obstacles and accidents and miseries. There have been
great metaphysical and religious systems teaching
that a certain calm indifference, a certain imperturb-

217

THE MEANING OF CULTURE

ableness, what the Greeks called ataraxia , is the true
end —to be unmoved, in fact, by both misery and
pleasure. This resigned indifference does not seem to
the present writer to satisfy the natural demands of
living, sentient beings as fully or as freely as the old
simple Homeric zest for life.

There is a profound defeatism and a deep, suicidal
nihilism about this calm resignation, this ataraxia ,
which does not seem at all to correspond with what we
observe and note in the ways of animals, birds, fishes,
reptiles, insects or plants. To these other children of
the earth as well as to us there is an irreducible vein
of tragedy twisted in and running through the bitter¬
sweet body of life. Hunger and thirst, cold and heat,
suffering in the flesh, suffering in the mind and nerves,
horrible drudgery and horrible persecution, few of us
but have at least tasted these evils. Some, for no fault
of their own and for no reason at all except the wanton¬
ness of pure chance, have been driven to drink them
to the very dregs - fate, chance, providence, society -
all these things seem to combine in certain cases to
crush people to the ground. There is nothing more
expressive of a barbarous and stupid lack of culture
than the half-unconscious attitude so many of us slip
into, of taking for granted, when we see weak, neurotic,
helpless, drifting, unhappy people, that it is by reason
of some special merit in us or by reason of some especial
favour towards us that the gods have given us an
advantage over such persons. The more deeply
sophisticated our culture is the more fully are we aware

218

CULTURE AND THE ART OF READING

that these lamentable differences in good and bad
fortune spring entirely from luck.

It is luck: luck in our heredity, luck in our environ¬
ment, luck above all in our individual temperament,
that makes the difference; and moreover at any moment
fortune’s erratic wheel may turn completely round and
we ourselves may be hit by some totally unforeseen
catastrophe. It is luck too, springing from some
fortunate encounter, some incredible love-affair, some
fragment of oracular wisdom in word or writing that
has come our way, that launched us on the secret
road of stoical-epicureanism, on the stubborn resolu¬
tion to be happy under all upshots and issues, which
has been so vast a resource to us in fortifying our
embattled spirit. At any moment we are liable, the
toughest and strongest among us, to be sent howling
to a suicidal collapse. It is all a matter of luck; and the
more culture we have the more deeply do we resolve
that in our relations with all the human failures and
abjects and ne’er-do-wells of our world we shall feel
nothing but plain, simple, humble reverence before
the mystery of misfortune. The nobler and the more
imaginative our culture is, the less do we pride or
plume ourselves over these social and temperamental
differences. Least of all do we allow ourselves any
arrogant pose of intellectual and aesthetic superiority.
The only superiority worth anything is the superiority
of being happier; and it may often happen that a fish,
a cow, a king, a cat, a glow-worm, a communist, a
sparrow, a pig, a millionaire, might be happier than

219

THE MEANING OF CULTURE

we are. It is only at the very beginning of culture,
in its rudimentary A.B.C. stage, that groups of people
allow themselves to feel intellectually and aesthetically
superior; and in the presence of the abysmal irony
of what the Chinese call a really ‘superior man* such
arrogance grows aware of a startled, uneasy suspicion
of its stupid limitations!

But of all the activities culture pursues, in its effort
to deepen our awareness of the multifarious magic of
life, the one which ought most profoundly to influence
us in the direction of humility is the reading of books.
When one thinks what one owes to books, when one
discovers again and again the extraordinary illumina¬
tions that have come to us from reading books, one’s
pride in one’s own originality finds itself forced back to
the honest, primordial ground where it has alone a
right to expand and expatiate, the ground, namely,
that we are what we are, different, peculiar, unique,
but not superior to anyone.

Happiness, which is the sole end and purpose of
culture, is liable to be menaced more crushingly by
blows to our inmost self-respect than by anything
else in the world except physical suffering and the fear
of physical suffering; and the only way by which these
blows to our self-respect can be avoided is to sink down
upon a basis for our personal self-esteem so deep,
simple, and primitive that it cannot be outraged by
any psychological shock. Such a basis is the perfectly
legitimate pride we have a right to take in just being
what we are I Our body is different from every other

220

CULTURE AND THE ART OF READING

living body in the world. Our mind, our feelings,
our nerves, our secret reactions to life, all are different
from those of any other animal, or any fish, or reptile,
or insect. Here we sit, or lie, or stand, or walk, looking
out upon the mystery of the world; and we have a
perfect right to be thrilled with unspeakable pride that
we can see and smell and touch and taste and hear in a
manner completely different - and who can refute
such a contention? — from every other living thing.

Bring down your pride, O man of aesthetic super¬
iority; bring down your pride, O woman of intellectual
superiority; till it stands firm and sure on the unassail¬
able ground of eating and drinking and stretching
your limbs, and walking to and fro upon the earth!
None of the children of the earth enjoy these primitive
enjoyments exactly as you do. When you walk along a
pavement or down a lane you have a perfect right to
stride and strut and sway and bend with a delicious
exuberance of pride. It is true you are a miracle, a
wonder, a mystery, the paragon of animals, one single
unique and inimitable living thing. It is a great
achievement to be able to walk about and enjoy yourself
in the sweet air! It is a still greater achievement to
enjoy yourself over some hideous, monotonous task
in an office, or a shop, or a factory, where you cannot
walk about and where the air is anything but sweet.

One thing certainly everyone has a right to be proud
of; namely, the power of continuing to be happy
under blow after blow of malignant fate, under insult
after insult of brutal people.

221

THE MEANING OF CULTURE

But this deep simple pride, pride which is so rich an
element in the art of happiness, need not stop at the
natural material things I have named. It can extend
to the supernatural. There is no man or woman in the
world who does not experience vague feelings of
mystical power, of cosmic power, bringing him a
strange sense of belonging, even in his most miserable
objective weakness, to the company of the immortal
gods. He does belong to them; he is of that company.
Not the wretchedest man or woman but has a deep
secretive mythology with which to wrestle with the
material world and to overcome it and pass beyond it
Not the wretchedest human being but has his share in
the creative energy that builds the world. We are all
creators. We all create a mythological world of our
own out of certain shapeless materials. What we really
mean when we speak of the universe is not something
static; it is simply a congeries of these personally
created worlds wherein animals and birds and fish
and plants and insects all contribute a fresh, vital
element of change, as they carry the whole teeming
caravan forward, into an indetermined, unpredictable,
and perhaps not even irreversible future.

Not one of our fellow-creators in this vast congeries
of personal lives that we call Nature is devoid of some
sort of instinct, corresponding to the accumulated
weight of habitual consciousness which it is the
purpose of our culture to supply with selected memor¬
ies out of the past of our own existence and the existence
of our race. Animals and even birds and fish have a

222

CULTURE AND THE ART OF READING

continuity of accumulated habits which answers to
the sort of culture I am trying to define in this book.

For those among us who are lucky enough to have
been born and bred in the country, there ought to be
scant need for those savage premeditated shocks to the
megalopolitan herd-conventions which writers like
D. H. Lawrence and Robinson Jeffers find such a zest
in giving. That whole school of what might be called
the cave-man cult - and such a great book as Whit¬
man's ‘Leaves of Grass' belongs to the same general
category — comes with an exultant feeling of release
to anyone who has been ‘cabined, cribbed, confined'
in some narrow human bondage. But to anyone who
from childhood has cast a not-unseeing eye upon the
ways of pikes and weasels and magpies and foxes and
sparrow-hawks and sheep and cattle and horses and
upon the tilling of the fields, there will be found some¬
thing overstrained, over-violent, megalomaniacal
about these heaving gestures. Nor will the call to prefer
Nature to humanity disturb very much the type of
rusticated pastoral mind that has never separated, in
its most casual thought, humanity from Nature.

What, it seems to me, an ordinary person of average
intelligence can gain from this super-vital cult, with
its straining after bodily violence, is a simple and frank
enjoyment of the physical sensations of his own body.
These sensations need not be so extreme, either in the
direction of lust or in the direction of mysticism, as the
impulses described by some of these writers; but it is
an enormous gain to our culture when we allow

223

THE MEANING OF CULTURE

ourselves time to enjoy with a certain indolent and
dreamy passivity the mere animal sensation of being
alive. Very soon after these primordial sensations
in which we revert, through long atavistic stages, to
the feelings of the ichthyosaurus and the diplodocus,
we shall come, if we read Wordsworth, to make much
of many more gentle and less primeval feelings. Here,
too, the rocks and stones and trees will draw us back
and down, to the beginnings of things, to the dark, old
secrets of flood and fell; but these primal presences
will now be associated with the frailer lives of flowers
and mosses and grass, and with the movements of
cattle and birds.

Flickering shadows upon white stones by the way-
side, gusts of wind over the bending corn, winding
lanes leading across hilltops into unknown landscapes,
yellow stonecrop and hartstongue ferns upon old
ruined sheep folds, great dreamy bumble-bees murmur¬
ing through long hot noons in the heart of foxglove-
bells, the metallic coolness of glittering celandines in
a mud-dark ditch, the dew-fresh pallor of cuckoo¬
flowers in long, lush hay-grass, the roll of .great
thunder-claps in high mountain gorges; all these, as
we ponder upon Wordsworth’s poetry, become more
and more an intimate part of our life.

Wordsworth, more than anyone, if we acquire the
trick of putting completely aside his pieties and his
moralizings, has the power of initiating us into those
aspects of Nature that are not what we call beautiful
at all; but are nevertheless full of the breathing life of

224

CULTURE AND THE ART OF READING

the earth; the life of grass-roots and moss-spores, of
lichen-scales and puff ball dust, of frost-marks and the
creaking and groaning of withered thorn-trees as the
wailing wind sweeps over the uplands.

The best way to make the reading of books really
valuable is to use them as I am now suggesting
Wordsworth should be used. Discount shamelessly
and unblushingly a writer's ethical propaganda and
concentrate your attention upon what he reveals to
you of the life-motions of the earth. Even in the
margin, so to speak, of his propaganda, you can often
find the most delicate revelations of this sort — in
poems for instance, like ‘Michael' and ‘Ruth’ and the
‘Leech-gatherer,’ there is a stoical acceptance of
destiny, mingled with a resolution to enjoy certain
simple physical pleasures in spite of destiny, from
which a most valuable wisdom can be gathered.

Refining, so to speak, in more and more subtle
reactions, the primordial ground-swell of purely
bodily sensations, it is in the poetry of Keats and in the
prose of Charles Lamb that those rich imaginative
regions can be traversed, so tremulously suspended
between earth and sky, wherein a thousand magical
trophies of recondite art are mingled with the very
life-sweats of Nature, with the stickiness and clammi¬
ness of honey and mushrooms, and the rank pungencies
of mud-grown hog-weed.

Such are the regions where tender, pastoral, Virgilian
deities, full of a certain dreamy autumnal wistfulness,
mingle without incongruity with the tavern-smells of
h 225

THE MEANING OF CULTURE

Eastcheap. Here the quaint ways of old ledger-dusty
London clerks are brought into contact with high
poetic images from Milton; while ‘child-angels/
free from all blame, take their places beside fallen
Titans and trees ‘branch-charmed by the earnest stars.’

It is interesting to note as a psychological com¬
mentary upon the unhumorous, noisy, hollow gaiety of
our time that the word ‘solemn’ has become a word of
reproach. One ought to be solemn sometimes. If
we read any great, powerful, modern book, such as
that most suggestive and monumental work, Spengler’s
‘Decline of the West,’ in a mood of grave receptivity,
a mood full of memories of the older solemn books of
our own race, books like those of Sir Thomas Browne
and John Donne and Jeremy Taylor, we shall be much
more ready to refrain from clever catchpenny critical
objections, much more ready to give ourselves up
imaginatively, freely, to a few world-shaking specula¬
tions, in which we can listen to the heavy, rumbling
undertones of the brooding fates.

It will not matter to us so much, then, in what
particulars this great book is perverse. Culture is
always ready to take very lightly those fantastic faults
of mystical exaggeration of which expert pedantry
makes so much. And this is the case because what
culture is concerned with is a certain stimulation of
one’s imaginative reaction to life. Any writer, how¬
ever wild, grotesque, or heavy-handed, who makes
our daily sunset more of a surprise to us and our lunar
crescent more of a miracle, any writer who rouses our

226

CULTURE AND THE ART OF READING

sense of the vast tragedy of the generations, any writer
who makes us feel the earth to be a divine presence
and the night to be a palpable god, wins our whole¬
hearted respect.

The gathering together of minute facts of
knowledge, verified and checked and re-checked by
expert instruments, has no doubt an incalculable
practical value; but in the reading of books and in our
choice of books what culture demands are large, bold,
startling generalizations, or startling refutations of
older generalizations, such as quicken our sense of
life.

Any writer who takes such ultimate things as the
problem of space and time, or the Einstein doctrine
of relativity, and renders them vivid, portentous,
consoling, or appalling, is doing for us what it was the
role of the old prophets and poets to do. That is why
in making any selection among pseudo-philosophic
modern books such an one as Wyndham Lewis’
‘Time and Western Man’ has an important place. Not
because we need go one single step in agreement with
his conclusions; but because our whole intellectual
arena is illuminated by a fierce, lively, agreeable
search-light, as we read such a wayward book.

In other words what culture demands of us in our
reading is simply a heightened sense of the grandeur
of the epic of human life upon earth. The more the
obliquities and perversities of human destiny are held
up to ribald scorn, the more stubbornly our imagin¬
ation reverts to those majestic simplicities that no

227

THE MEANING OF CULTURE

scorn can touch. It does not matter to real culture
whether a book be lucid as transparent air, or sullenly
obscure as pitch-black midnight. If it stirs us up to
feel the throb of the great life-engines, down there
in one abyss, it has completed its task.

Thus the maddest obscurities of Joyce’s latest
work, just because there is something in the surge and
sweep of that wild philological dithyramb which
releases the cosmic dance of our blood, have a certain
value for us, even though we understand this cosmo¬
politan ‘Olla Podrida’ of erudition and obscene slang
no better than if it were the gibberish of madmen.
What one is wise to do with books is to saturate
oneself with their imaginative atmospheres. Thus
after re-reading the four great novels of Dostoievsky
one is obsessed by the feeling of the presence of strange
and passionate characters, each man, each woman a
wandering dark star of convoluted mystery, moving
along roads in the outskirts of towns in rain-swept
woody plains or between tall houses in sombre northern
cities.

To all this one must add what one gets from the
heroic Greek tragedies, a sense of superhuman men
and women on lonely olive-covered heights and high,
bare sea-promontories, wrestling calmly, stubbornly,
austerely with the dark powers of the nether-world,
and visited at moments by pure immortal incarnations
of the sun, the moon, the sea, the rivers and the earth.
All these impressions derived from reading are of little
value unless we can mingle and fuse them with the

228

CULTURE AND THE ART OF READING

actual feelings we have as we walk about, or look up
for a moment from our work at desk or counter or
factory-machine.

What culture can do is to liberate us from the
pressure of that odious, false reality which is the
poisoner and the assassin of all thrilling and exciting
thoughts. It is a good thing to read books which
create an atmosphere wholly and entirely different
from the one in which we are doomed by a maladjusted
society to labour. Thus it is well worth the tedium
of his long-windedness to linger slowly over the
rambling romances of Sir Walter Scott. Dull though
much of it may seem, stilted though much of it is,
there is a massive genius in this solid Antiquary of
Folklore, for the creation of quaint, homely, whimsical,
idiosyncratic personages, such as do really resemble
in an astonishing verisimilitude many persons that one
may encounter to-day if one looks out for them.

It is not because of any silly ‘high-brow’ priggish¬
ness that a cultured person avoids like the plague the
countless clever, witty, lively, lurid, fantastical stories
that flood our bookshops and our popular magazines.
It is because the human mind is fatally sensitized to
such influences; especially if the subject of them
possesses that topical and immediate appeal which
crime-stories and adventure-stories in the daily news¬
paper possess. It is not from pricje but from humility
that any nature, anxious to nourish itself upon food
which the long experience of the generations has
proved to be most stimulating, gives all these insidious

Z29

THE MEANING OF CULTURE

temptations to the Devil. There are no doubt original
and fastidious geniuses who instinctively loathe these
mean and meretricious viands; but average sensitive
people are wise to steer clear of them even if they feel
attracted. Life is short and the number of books is
appalling. It is a kind of insanity to satiate oneself
with short sensation-tales and detective-tales and leave
untouched the great, slow, deep-breathed classics.

The whole point of the difference lies here. These
flashy, clever, lively modern books distract one's
attention not so much from the vulgar, false reality
of the superficial show of things, for this, as a rule,
they delight to emphasize, and indeed rejoice to repro¬
duce with photographic minuteness; but from that
deeper, lasting reality which might be called the
Platonic essence of our long human experience. This
they neglect, this they avoid, this they expurgate, lest
their work be rendered dull and tedious to the eye
that loves best the fever-mists at the edge of the
bottomless pond.

Culture would not be culture if it were not an
acquired taste. A new sort of barbarian has been
evoked by our megalopolitan civilization; the barbarian
of tasteless taste. In the old days all books, even what
are called broadsides and chap-books, had a solid
value. In their most Rabelaisian grossness there was
a certain tang, and f a certain smack of the restorative
earth. They had the value of good dungheaps. But
with the inrush of modern cheap printing, combined
with the standardization of vulgar city-psychology,

230 ‘

CULTURE AND THE ART OF READING

what we are confronted with to-day is a magnetic
emanation, passing like radio-waves from mind to
mind, of the crudest superficiality; an emanation
given off, like a miasmic effluvium, from the surface-
scum of the agglomerated mob-mentality. In old days
the lewd under-side of things was represented in
blasphemous pamphlets, Gothic gargoyles, and the
quips of dissolute pedants, rustic idiots, lascivious
scholars. To-day this inherent and indestructible
satyrishness of the human race is presented with the
hard, brutal, malapert facetiousness of uncultured
city-scoffers.

The choice of the books one reads is indeed one
of the few important gestures one is permitted now¬
adays to make, in the great war that is always going on
between the children of light and the children of
perdition. To make people feel deeply by legislation
is impossible; to try to reduce them to wisdom by
savage satire is usually but beating the wind and
digging trenches in the sand. But if one is driven by
ungovernable distaste to make some sort of protest,
what one really can do is to eschew with stubborn
austerity all this raw, steaming product, insidious as
carrion to emperor-moths, of the ovens that bake our
corruption.

The secret benefit that both men and women can
derive from confining their reading to the deep,
imaginative books is a richer, subtler knowledge of
each other. However fiercely feministic a woman’s
philosophy may be, she will find her insight into the

* 3 *

THE MEANING OF CULTURE

restricted group of men she knows enlarged beyond
expectation by the psychological clairvoyance of the
great writers. What cannot a woman get by saturating
herself with the work of Proust, for example? She may
well have been completely puzzled by a Monsieur
Swann or a Baron de Charlus, however shrewdly her
natural instinct may have pierced to the marrow the
Madame de Verdurins of her circle. And, for a man,
what enlargement of his insight into the feminine
nature will have been evoked by the figures of Aglaia
Epanchin, Nastasia Philippovna, Grushenka, Sonia,
Darya and Lise, from the great novels of Dostoievsky?
Once a man has grasped to its tragic extreme that
‘terrible passivity’ that finds examples all the way
down the ages, from the Homeric Helen to Hardy’s
Tess, is it possible that some kind of added consider¬
ateness, some kind of added tenderness, will not
accompany his wayfarings among women? It is not
only that men and women learn more of each other’s
secrets from the great writers, they learn to respect each
other better, and to feel more reverence for the primor¬
dial comic-tragedy of the difference between them.

One can easily grant that a crafty, suspicious man
and a shrewd, dissimulating girl can learn more of
each other’s tricks and subterfuges from close contact
and near observation than from all the books ever
written; but what they cannot learn is that these tricks
and devices, these vanities and touchinesses, are as
old as the world. What they cannot learn-unless
they are born original thinkers of rare quality —is a

232

CULTURE AND THE ART OF READING

certain tender and poetic reverence for all these
naively revealed everlasting characteristics. The abys¬
mal vanity and incurable pompousness of men, for
example, — would not a bookish woman learn some¬
thing about that, and about how to be tender to it,
from long leisurely hours spent listening to the crazy
theories of ‘my father’ in ‘Tristram Shandy’? Would
she not inwardly digest too a certain childish guileless¬
ness in her man, all the more pleasantly from following
the innocent protests of ‘my Uncle Toby’?

And would not a man, who heretofore in his
experience of women had encountered none that were
not either of the maternal or of the courtesan type, be
driven to a new and quite unexpected recognition,
when in reading Conrad he came across that ‘wounded
elf variety of girlhood, so beautifully revealed in
Flora de Barral in ‘Chance’ and in Lena in ‘Victory?’

The reading of books worthy of the name, if both
are passionately addicted to it and have somewhat
the same predilections in the matter, may quite
conceivably, over and over again, save many a menage
from disaster. No lover of good books — in other
words no cultured person - can feel continuous
hostility to another reader of the same sort. The mere
sight of that engrossed look, that absorbed and rapt
delight, would, one may well suppose, disarm the most
vindictive hate.

It is deplorable the amount of stupid, unenlightened
taking-for-granted that goes on between people,
especially between a man and a woman who have lived

233

THE MEANING OF CULTURE

side by side for many years. This is a sort of pulling
wool over the eyes of the Sphinx, covering the candles
of the altar with a wet blanket, scratching the figures
of an almanack upon the canvas of the Virgin of the
Rocks, and using the three fates for a milestone 1

Human beings have only a limited amount of vital
energy, of that resilient cosmic magnetism ‘qut fait
le monde a la ronde ; and the mere repetition of the same
routine, unless one is a genius of the hearth or very
much in love, has a tendency to cover up with a thick
layer of cement the delicate foliations and deeply cut
hieroglyphs of another spirit. But if both man and
woman, both parent and child, are readers of the old,
great books, the faintly-caught music of the spheres
steals nearer; and under the spell of the muffled march
of the generations the blurred outlines of those familiar
physiognomies begin to emerge in full relief and life
*grows rich and thick once more.

The more Greek and Latin books people read,
either in the original or in translations, the more
cultured they can become; that is if their natures are
destined for such nourishment. And this happens
because the ripe and mellow heathenism of these
works, their poetical earthiness, their calm acceptance
of life and death, thrusts a critical wedge of profound
detachment between our minds and every mystical
or moral cult that seeks to convert us or corrupt us.
And the mystical element which the classic writings
supply in place of such modern fantasias is their
living mythology.

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Since the whole purpose of culture is to enable us
to live out our days in a perpetual undertide of
ecstasy, it is clear that culture has entirely failed if
it has not helped us to see men and women walking
to and fro over the earth in the likeness of gods, if it
has not helped us to feel that the sun and the moon
(whatever the last scientific theory about them may
be) are mysterious personal powers to whom it would
seem natural to pray. Greater than any printed book
is the vaulted scroll of the constellations; and from
whence is this cosmic folio drawn, where it is not
Chaldean or Arabian, if not from classical mythology?

People who do not read books, or who read only the
fashionable books of the hour, are driven to depend for
their mental activity upon what passes for conversation.
Almost all modern conversation, when not between
lovers or book-lovers, is a silly interruption of the
secret ecstasy of life. That is where certain wise
sensation-lovers, like Wordsworth and Miss Dorothy
Richardson, can be of such value to our culture. They
make us realize the ghastly waste of time that we
indulge in when we give ourselves up to frivolous
badinage.

Who does not recognize the shock and clash of a
wicked outrage when one watches a young unspoilt
mind efnerging from the pages of its book and the
delicious dreams that its book has called forth, and
being compelled to encounter the noisy chatter of a
great roomful of lively roisterers, where gramophones
and radios and feet and tongues all are rending and

235

THE MEANING OF CULTURE

tearing those gossamer threads, those filmy mists, those
delicate fibres, those green tendrils, that have the very
dew of creation upon them?

Let us have done with this vociferous, hypocritical
humbug about real life being so much more important
than books! The noisy persons who use these bracing
expressions will never know, with all their bluster,—
never in twenty years! - such quivering ecstatic rap¬
tures as one silent boy or one reserved girl draws in an
afternoon from the pages, or from between the pages,
of Rousseau’s ‘Confessions,’ or Proust’s ‘Le Temps
Retrouv^,’ or Thomas Mann’s ‘Magic Mountain,’ or
Spengler’s ‘Decline of the West.’ It is not the outward
variety or the material bustle and clatter of experience
that count - it is the subtlety and the intensity. Culture
in fact can do what nothing else but love and religion
can do. It can take the quiet, gentle, attenuated
impressions of life, impressions thrust back, as it
were, one remove from the first raw impact, and make
them into far better planetary symbols of the great
secret life-forces than all the dance-halls and night-clubs
and baseball-matches and horse-races in the world are
able to provide!

Lovers of books will be found to be of almost
infinite variety. In their methods of reading, in the
slowness or the speed with which they read, in the
nature of the books they re-read again and again, in
the type of books they never return to, they differ
from one another in almost every point. One might
imagine for instance four brothers, all great readers; —

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CULTURE AND THE ART OF READING

and one might be found reading Montaigne’s ‘Essays’
again and again, another Goethe’s ‘Conversations with
Eckermann,’ another the poetry of John Donne,
another the novels of Hardy. And just as there are
these irreversible differences in taste between book-
lovers, so the revelations about life which various
people derive from reading lie as far apart as the
poles.

But all have their living value. All are true in their
hour and place - a voracious reader of Balzac’s
impassioned Vulcanian quarrying will have received
one startling revelation at any rate upon which to
muse. He will have learnt that a man who gives himself
up to the love of a woman or girl must be prepared to
yield willingly, nay! voluptuously, to an abysmal
possessiveness the like of which can only be equalled
by the maternal instinct. He will learn that if he aban¬
dons himself body and soul, in full unreserving trust,
to this instinct of hers all will be well. He must let
her sew for him, cook for him, create the atmosphere
of his menage for him, manage his money, sift and
select his friends, share his ideas, his ambitions, his
philosophy, his religion, his very memories - and then
all will be well. An indescribable background of
psychic satisfaction will rock him then to rest like the
waves bf a great, smooth flood. He will be happy and
she will be happy. Out of two beings one being will
have been made. And yet in the midst of this incom¬
prehensible unity there will still exist, separate and
distinct, down to the very nadir of the universe, that

2 37

THE MEANING OF CULTURE

unbridgeable difference between them which is the
forts et origo of all!

Such a devoted reader of Balzac and of several other
great novelists — for it is in this art that psychology
utters its most penetrating if not its most massive
oracles —will discover too that much of the savage
insistence which we find in such writers as D. H.
Lawrence, as to the sublime, irreconcilable war between
men and women, springs from the fact that the pre¬
destined mate is so hard to discover. There is indeed
only one test — so we gather between the lines as we
read — of this perfect mate; namely that without a jot
of suspicion or misgiving a person can fling himself
absolutely, for good and for ill, upon her mercy. In
full premeditation must we say for ill as well as for
good; for until a man puts his conscience, as his final
and ultimate offering, at the feet of his love, in her
heart she knows that the consummation has not yet
been reached. Towards this absolute issue, like a
winding river heading for the salt sea, she directs their
affection. As long as he holds back, in the depths of
his being, one single uncommitted water-drop of his
enamoured will, the flood of that river will be delayed,
stirred up and darkened with silt and mud, in its
deepest bed.

The mind of a book-lover, meditating long and long
upon such things, as he contemplates the Platonic
essence of life in these formidable writers, will soon
learn to read the great book of Nature for himself.
He may, for instance, in this business of mating have

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found his experience of women reduced to the narrow¬
est limitations.

It matters nothing. The writings of Balzac, Henry
James, Turgeniev, Dostoievsky, Emily Bronte, Proust,
Stendhal, will have supplied him with the experience
he requires. Taking a hint from one and a hint from
another he will soon find himself reading the secrets
of creative Nature without further assistance. It is
then he will discover - to carry our primitive example
a step further - that having made the one grand
interior motion of submission to his mate, she will be
pliable and easy in every detail. As soon as she feels
he has held nothing back — not even his very soul; as
soon as she feels that she herself has lodgment within
the circumference of his very soul, she will yield to
him in detail without scruple or hesitation. Pliable,
docile, flexible, will she be. His philosophy will
be her philosophy, his friends her friends, his ambitions
her ambitions, his peculiarities her peculiarities. There
is no doubt that in all those famous examples of
docility in woman of which the history of great inspired
artists is full, such docility, for instance, as was
displayed by Catherine Blake to William Blake, the
secret below the secret of their relations was that the
man, prophet, artist, saint, lover, held nothing back,
either mental, spiritual, or material, in the depths of
the association.

Here and nowhere else is to be found the explanation
of those curious cases where a devoted wife or mistress
allows her mate full liberty in the matter of alien sex-

239

THE MEANING OF CULTURE

pleasure. It will usually be found that in these cases
the faithful-unfaithful man tells his woman. People
therefore who do not wish their light-o’-loves to be
known to any but the sharer of them were wise to
steer clear of men and women who have found their
life-companion! Women are not nearly as jealous as
men with regard to wandering amorous caresses, or
even with regard to the final act of love. What hits
them to the heart is for other women to know; because
this knowledge by others is a token that they are still
outside the inner circumference of their love’s con¬
sciousness.

What renders the anger of women so terrible is that
with all the irrationality of its immediate occasion it
manages to get behind it the whole flood of some
primordial force in Nature; and it succeeds in doing
this because what a woman unconsciously feels to be
the justification of her raging fury is the fact that
somewhere in the depths of his being her man has
escaped from her or is in the process of escaping from
her. The true ultimate anger of frustrated possession
is fortunately rare. No reader of Russian books,
however, wherein, as in Dostoievsky for instance, the
anger of women is so beautifully and formidably
exposed, will be without some sort of clue as to the
difference between this ultimate posseasive anger and
its comparatively harmless substitutes.

In that great scene in ‘The Idiot’ where Aglaia
Epanchin and Nastasia Philippovna face each other
at white heat in the presence of the Prince, the anger

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of both is entirely this ultimate possessive wrath. And
well indeed might they both feel it, for the luckless
Myshkin was assuredly holding something back in
both cases. He loved Aglaia with his natural instinct.
He loved Nastasia with his strange ‘Fifth Gospel’ pity.
It may thus have been quite true, as his friend Yevgeny
so sternly said to him, that in the depths of his being
he loved neither of them.

Another thing one may soon learn, if one reads
Nature for oneself under the inspiration of these
immortal writers, and that is that every man overrates
the moral importance of every woman’s anger. Out
of the womb of the Great Mother herself, of Gaia-
Demeter, the mistress of life and death, there springs
forth a certain natural, elemental irritation, the organic
ferment in the reservoirs of the universe, which is an
inevitable accompaniment of cosmic gestation. Such
irritation, such irrational outbursts of startling anger
over unbelievable trifles, need not be taken as ponder¬
ously and gravely as most men are tempted to take it,
answering it with solemn arguments and pedantic
appeals to reason and justice.

Nothing infuriates a woman more, or in her malici¬
ous fury, delights her more, than these portentous
and only too logical reasonings. It is almost as bad
when*the good man assumes an air of outraged,
martyrized virtue. What a man should call up at
such moments — and if he is a cultured man, and has
pondered long upon the classics, this is what he will
summon up to his aid — is the primordial opposite to

241

THE MEANING OF CULTURE

this Gaia-ferment, namely the stolid, massive, whimsi¬
cal, detached humour of the Hephaestus-craftsman at
his anvil.

But a really cultured man, who has been led, not
only by the classics but by the sly, fantastic humorists
of the north to consider Nature’s tricks with some
acuteness, will instinctively practise a certain retort
to this seething ferment of the Great Mother’s irritation
which has an even better effect than the stolid, humor¬
ous patience referred to above. I am alluding now
to an assumed, pretended, but very stern masculine
anger, which, like the rattling of the terrible quiver
of the son of Latona, can quell the tumult even of
Chthonian deities!

It is interesting to try to analyse why it is that we
all naturally find it so much easier to read a modern
novel of the second or third class of quality than to
read any classical work. It is not at all that the former
is simple and the latter obscure. Very often, if our
translation is good, the latter is by far the less obscure.
Is it not primarily because the play of character and
circumstance, all the little details, all the topical
questions, all the scenes described, belong to our
own time? This contemporaneousness of detail relieves
us of all imaginative effort. Everything is done for us.
The writer is thinking, describing, jesting, whimper¬
ing, holding his breath, in a medium so familiar to us
that the mind has to make no effort to get the under¬
sense of what is happening. Take for instance a book
like ‘The Bridge of San Luis Rey’ and compare it-

242

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only, of course, in this particular connection, — with a
book like ‘Middlemarch’; and will it not be clear that,
for those among us who enjoy average fiction, this
masterpiece of George Eliot’s is a work less easy to
read than the clever modern work?

Raise the standard on both sides of the shield higher!
Compare Homer’s account of the duel between Paris
and Menelaus and of Helen’s looking down from the
walls of Troy with Thomas Hardy’s ‘Jude the
Obscure.’ Who among us who retained his honesty
in these matters would not confess to finding ‘Jude the
Obscure’ far more exciting, absorbing, and easy to
read than those great Homeric scenes, even in the
simplest of translations?

Does it not almost seem as if a certain effort of the
imagination were required when one is reading a
classical book, whereas when one is reading an exciting
modern book no effort of the imagination is needed?
One now begins to realize what, in this affair of book¬
reading, culture really means! Culture means the
power of making just that very effort of the' imagin¬
ation which is required in order that we should get as
much satisfaction out of those passages in Homer as
out of ‘Jude the Obscure.’

Now this effort of the imagination is not acquired
all in a moment. It is a matter of practice and training.
The more often you taste the Pierian Spring the more
deeply will an insatiable craving for its waters follow
you about. You will find yourself, when on a journey,
seized with a mania for Homer’s poetry that must be

H 3

THE MEANING OF CULTURE

satisfied, even if it means hunting through all the local
bookshops for some miserable school-edition. And
with what delight you will open the thin volume when
you’ve got it in your hands! How, if you are in a
strange place, you will lay it by the side of your plate
in some unknown tavern; how you will mingle its rever¬
berating ocean-mutter with the twittering of sparrows
in some small town square or with a budding lilac-bush
at the edge of some city garden.

And how will your imagination go to work in this
magical trick of making what seems so dull to the
uncultured mind grow to be thrilling and exciting?
In the first place you must realize that this Homeric
writing is dealing with life and death on the very
simplest terms. When that lamentable little step-son
of theirs killed the other children and himself it was a
blow of a malignant, perverse, and an almost mystical
cruelty to the luckless hearts of Jude and Sue; but
when Hector says farewell to Andromache for the
last time the situation represents the most natural,
ordinary, primitive state of things that could be
imagined.

If we desire to reach the cultured attitude to books
and reading, we must grow conscious of this same
natural, ordinary primitive state of things as something
that surrounds us at every moment, as something that
is, in fact, the Platonic essence of reality. And this
remains true even though some vividly described
character in a powerful modern book may be far more
alluring to our intellectual curiosity than Hector or

244

CULTURE AND THE ART OF READING

Andromache, than Achilles or Odysseus. The
‘Ulysses* of James Joyce, for example, that much-
enduring Leopold Bloom, might easily arrest the
attention of anyone’s analytical contemplation far
more than his great prototype!

But what these modern books cannot do is to satisfy
a certain acquired taste which culture has given us; a
taste for contemplating life and death in their most
natural and normal simplicity and associating them
with beauty, love, jealousy, wrath, and allowing them
to take their place, grandly and monumentally, free
from all moral arrieres pensees , against a background
of earth, air, and sea; of sun and moon, and the day
and the night.

One could almost repeat, word by word, the sort of
spontaneous creed which a very bookish person might
be driven to confess. It would probably be a different
creed altogether from that of a bishop or a soldier or a
statesman or a judge. One can indeed easily conceive
it running as follows - ‘I believe in many gods. I
believe that there may be immortality. I believe that
virtue is charity — I believe that the secret of life is
happiness.* But the grand device of a lover of books,
whatever his creed, is to mingle his pleasure in reading
with the other pleasures of his life. Deep and subtle
are the" various sensations that come to us in this way.
Perhaps the most wonderful of all thoughts, except
those of love under certain very especial circumstances,
are the thoughts that come to us when we have been
reading some particularly thrilling book and then stop

*45

THE MEANING OF CULTURE

for a second to observe the shadows on the hills, or to
look out upon the lights of the streets, or to gaze down
at the sea. For some reason or other the effect of long
absorption in reading — and let parents and authorities
of all kinds note this well — is to purge the mind of
annoying and teasing thoughts and to leave us amiable,
genial, benevolent. It is a wicked thing that so few of
the proletariat have leisure to read for as long as they
want. Not to have time to read is such a miserable
deprivation that one can well understand the revolu¬
tionary mood of those who have suffered it.

When a rich person declares he ‘has no time to read,’
it is as if he said ‘I have no time to eat,’ or ‘I have no
time to wash,’ or ‘I have no time to say my prayers.’
All we children of men, to the most abject and exploited
drudge among us, find time for some sort of love-
making — however remote and attenuated it may be —
and for a person with the least rudiments of those slowly
acquired habits which we call culture the necessity of
reading resembles the necessity of love.

What one is apt to forget is the curious loneliness
of so many people. How many a girl finds herself as
isolated among her brothers and sisters and in the
presence of her parents as if she were marooned on a
desert island. How many a young man awakens one
morning after the first glow of his married life has
waned to realize clearly and decisively that between
himself and the woman he is now linked with there is
no real mental understanding. Nor need we take these
exceptional and tragic instances. Under the most

246

CULTURE AND THE ART OF READING

genial circumstances it is not easy for any man or
woman, for any boy or girl, to find a perfect mental
companionship. One’s relatives are affectionate, one’s
acquaintances are good-natured, one has one’s measure
of pleasant, amorous delight. But something is
missing; and this something is unfortunately the one
thing, most necessary - someone with whom to
exchange ideas!

It is just here that books, and books alone, enter
and save us. All intimate and intense reading is a kind
of secret dialogue between the writer and one’s own
soul. After a long, furtive, impassioned, Platonic
love-affair with Goethe, or Walt Whitman, or Keats,
or Lamb, or even the translunar Emerson, what a
contrast it is when we fall back upon ordinary casual
fooling with our less exciting friends!

Think how narrow, in reality, is every mortal
person’s circle of human acquaintanceship. And we
all are possessed, even the least intelligent among us,
of peculiar mental twists and quirks, of peculiar
imaginative reactions, which could easily go down to
the grave with us, unsatisfied, unrecognized, unappre¬
ciated. Entering the world of books, in place of a
restricted circle of a dozen intimates, we find offered
to our fellowship a vast and spacious limbo, crowded
with the undying dead. It will go hard if among these
we do not find a few, at least one or two, adapted
to our fastidious requirements in a way impossible
with any living friend — unless chance has been good
to us far beyond the luck of most. If only these divine

247

THE MEANING OF CULTURE

immortals could speak to us in the flesh ; could answer
certain sharp, bitter, tragic-comic questions, touching
the poignance of our actual experience 1

In the matter of books, as in the matter of religion,
there is no palpable voice from beyond the banked-up
walls save what a miraculous faith can bring ; and for
how few is this miracle worked. For a few it does
sometimes almost seem as if some strange, occult
exchange of mental vibration went on between the
remote idol and the living idolater ; but for most of
us, as in the case of our communion with the ultimate
first cause, our dialogue with the dead remains
lamentably one-sided.

In the actual process of reading books how can any
guide give rules or directions ? Some natures are on
the alert for one kind of nourishment, others for
others. To some the style - that rich palimpsest of
mysteries, that white magic - is everything. To
others the style is nothing, compared with certain
definite opinions, characters, ideas, philosophies,
moralities that our favourite books contain. Some
abominate preciosity; others love it best of all. Some
adore a plain, direct, sledge-hammer method of going
to work. Others find such a thing tedious, didactic,
lacking in grace and charm. Some lap up with wicked
voluptuous relish the satiric vein whenever it appears.
Others loathe it and hurry on to something more
positive, more illuminating, more inspiring. Some
hover above a book, like a kestrel-hawk out of the
sky, and pounce swiftly on just what they want,

248

CULTURE AND THE ART OF READING

leaving the rest like so much dead carrion. Others
find it advisable to read very slowly, following carefully
every single page, saturating themselves with a book’s
very atmosphere till it becomes a portion of their inmost
being. Some natures find an immense enlargement of
their personalities by reading much in a foreign tongue.
Something French in their spirit corresponds to the
French language; something German in their imagin¬
ation to the German language. A person may have felt
an exile in a strange country until he had the felicity
to begin a study of Latin or of Greek. Then, like a
little postern door opening upon an unguesscd-at
earthly paradise, he uses this old tongue to pass free
and content among characters, ideas, conceptions,
images, even a very air and landscape, exactly adapted
to his exiled, maladjusted and persecuted nature. It
is a great mistake to assume that one person is neces¬
sarily more cultured than another because he is a good
linguist. It might easily happen that by feeling and
thinking with a certain versatile volubility in many
languages one gradually lost the power of identifying
one’s whole being with any. To be a superficial adept
in many tongues is to be a living master of none. But
it does certainly remain true that there are many most
sensitive personalities of pure Nordic blood who with a
desperate spiritual yearning pine for aspects of culture
entirely denied them in their Nordic surrounding.
Many lonely natures, if only they had the wit to realize
it, are, by a kind of atavistic adoption, children of some
long-past epoch of the human pilgrimage. They may

249

THE MEANING OF CULTURE

live in some little wayside town in Iowa or Colorado,
while in all their most integral instincts they belong to
Periclean Athens, Imperial Rome, the Florence of
the Medici, the London of Ben Jonson, the aristocratic
salons of the eighteenth century, the revolutionary
Europe of Heine, of Byron and Shelley! There must
be little local Carnegie Libraries all over the United
States full of bad mixers, odd fish, misfits, queer ones
of every wounded sort of wing, who are taking refuge
there in regions totally unknown to their neighbours,
wonderful Elysian Fields of escape, into which no
exacting employer, no debased public opinion can
ever pursue them.

The world of books is, in fact, the Grand Alsatia, to
which all the hunted ones of the herded tribes of men
can flee away and be at rest. The mere presence of
real culture in certain communities is a stone of stumb¬
ling and a rock of offence. A cultured person is a
person doomed by nature to a considerable degree of
social ostracism in our modern world. This is due to
the fact that culture itself, even in its simplest, earliest
stages tends to adopt a certain detached bird’s-eye
view of human life and its bitter controversies, an
attitude of contemplative, critical discrimination, which
is more than anything else hateful to all partisans. Not
to take sides - not to see the devil in one camp and
God Himself in the other-what could be more
suspicious?

After the great poets and novelists - after Homer,
Shakespeare, Dostoievsky, Proust, Henry James-it

250

CULTURE AND THE ART OF READING

would almost seem as though works of history -
memoirs, chronicles, biographies, legends, folklore,
studies in the growth of religions and religious heresies
— were the most fecund in the sort of imaginative
interest which brings the best grist to culture’s mill.
And the way to read these books is to resign all
attempts at reaching any objective impartial judgments.
The thing to do is to give yourself up wholly and totally
to the most violent prejudices of that author until by
degrees the particular emotional aper$u which has
stirred him and obsessed him reveals to you that unique,
unrelated expression of the Protean face of truth which
has been all the while his secret inspiration. Quite the
opposite expression of the same Protean countenance
will be caught when you proceed to give yourself up
with equal sympathy to the argument of his antagonist.
But if there be such a thing in this world as an approxi¬
mation to absolute truth in human affairs, it will be
found in the act of placing side by side the two most
extreme points of view that can be discovered. Every¬
thing in life is dualistic and the truth of human history
is no exception. Between one taboo and another swings
the great pendulum of the psychic contraries of history.
Truth lies, if anywhere, in the bringing close together,
in full illuminating contrast, of the most opposite
interpretations; and in allowing them to remain un¬
co-ordinated, unreconciled, unrelated, save as we are
forced to imagine that they are two sides of the same
shield; but a shield the nature of which, apart from
their propinquity, it is forbidden to us to discover.

251

THE MEANING OF CULTURE

The desire to reconcile, to synthesize; the desire to
interpret the magical divergencies of things and the
issues of things—which are their entelechies and their
essences — in terms of vague, colourless, hypothecated
neutralities, such as no man has ever seen or will ever
see; is a desire against which true culture must always
be contending. The petals of life's mysterious flower
must always carry upon them the bloom of inexplicable
paradox. Their scent, their colour, their very shape,
seem always to differ from moment to moment accord¬
ing to a darkness which is so much a thing by itself,
and a light which is so much a thing by itself, that we
can never behold the substance that changes with
their alternation. Culture must do with its books of
history as it does with the opinions it encounters on the
lips of living men ; it must accept them on their own
terms. The views of every man and every woman are
different; different with that divergency of innate
psychology which separates all lives from one another
by such impassable gulfs.

The universe is not static; it is a congeries of growing
organisms, each one of which is an absolute creator.
There are indeed as many universes — that is to say
fluctuating temporary adjustments of ‘selves’ and
‘not-selves’— as there are living organisms; and it
comes more and more to be evident that there are no
lacunae of chemical or magnetic energy - no blind
oases of matter — that are not portions of the mysterious
organisms of living things.

If that primal father of energy we call the Sun could
252

CULTURE AND THE ART OF READING

inscribe in eternal hieroglyphs upon some cosmogonic
Rosetta Stone the history of its long journeying, such
a book would be no more a piece of absolute truth
than a similar scroll inscribed by the Moon or by
Saturn or by Aldebaran. It would be the Sun's
rendering of his burning reaction to the ‘not-sun’; it
would be the diary of his half-successful, half-frustrated
struggle to create his own world, and of a thousand
cosmic impingings, some warded off, some yielded to,
upon his huge, dreaming life-illusion.

Just as to be cultured among men means to have a
sense of the mystery of life more vivid and intense
than that of others, so also does it mean the possession
of a deeper scepticism than that of others. In a person’s
choice of books this becomes very quickly evident,
Uncultured people read only the religious books, the
moral books, the philosophical books, that reflect their
own ideas. The rampant secularist, the crusading
mechanistic iconoclast, shows himself to be just as
uninterested in the theories of his opponents as the
most rigid fundamentalist. How refreshing, how
thrilling a moment it is in one’s intellectual life when
one realizes the equality of all truths!

A world ‘fixed up,’ once and for all, on religious or
theosophical or metaphysical lines is a world lacking
in certain tragic but strangely beautiful possibilities.
A world ‘fixed up,’ checked and counter-checked by
tangible sensuous evidence, is a world with all its
artesian wells, and all its volcanic chasms, and all its
black holes in space, and all its psychic dimensions,

*53

THE MEANING OF CULTURE

cemented over and smoothed down with an adaman¬
tine layer of concrete.

How absurd it is to have such a dogmatically un¬
cultured mind that one misses the reality-value in the
half-truths of mythology, folklore, ghost-stories,
religious superstitions, and moral taboos! Those
pages of LempriSre’s ‘Classical Dictionary 1 entitled
‘Mythology* are quite as ‘true,* when taken literally
as explanations of this peculiar world, as are the
latest theories in dynamics and physics.

There are certain cynical, frivolous, unpoetical,
modern writers who compose, in a demi-semi-facetious
manner, silly books upon Black Magic and the like;
airing their sadistic fancies and venting their cheap
wit on old tribal legends of which neither the truth nor
the beauty touches deeply their jaded, life-weary,
languid nerves. Such superficial exploiters of old earth-
legends and old poetic myths are in their hearts not
sceptics at all; for they have not the least real belief
in the possibility of these things. They are in truth
dogmatic unbelievers who, out of a kind of fanciful
roguery and a faint aesthetic titillation, play with the
poetry of life. They do exactly as the nouveaux riches
do, who fill their vulgar reception-rooms with bric-d-
brac stolen from the shrines of dead gods. In the matter
of the choice of books a youthful mind that desires to
be really cultured will of all things shun and avoid a
certain frivolous humour that is in fact anything but
humorous. It is the wan, bleak, hollow gibing of a
corpse-nature that can only give back a thin leprous

254

CULTURE AND THE ART OF READING

suppuration as the winds of morning and evening
shake its gibbet-tree! Real humour is like that of
Rabelais and Sterne and Cervantes and Shakespeare —
something that has the pith and sap of a vital life-
ecstasy in it. The reading of books can be indeed a
veritable path to perdition if its trend is towards an
inherent frivolity. The most savage and blasphemous,
even the most furiously obscene writing takes its
place along with the greatest, if its sardonic wrath
and cataclysmic imagination springs from the stirred
depths of the writer’s soul.

Passages from Jonathan Swift and from James
Joyce hold such a place, because such noble, devilish
fooling springs out of the lacerated abysses of the
human heart. Where the youthful mind, let loose in
any great library, is apt to go astray, is where it falls
under the catchpenny spell of the kind of mind that
is cynical rather than sceptical, frivolous rather than
blasphemous, and corrupt and defeatist all along the line.

A big library contains many queer books. It is the
greatest mistake in the world to assume that all the
evocations of genius provide good nourishment.
Many provide the most delicate poisons. Some
resemble the plant called hen-bane; other the plant
called wolf’s-bane. The assumption that the human
mind is enriched by all the virtuosity it imbibes is as
stupid as to put Pantagruel or Candide upon the
forbidden shelves. There are frivolous, cynical,
hollow-hearted books, written by clever modern
aesthetes —we are not of course referring to Oscar

*55

THE MEANING OF CULTURE

Wilde or to James Branch Cabell — that fall into line
only too well with the silly pseudo-sophisticated patter
of the most unpleasant smart people.

Just as the worst thing that could be done to a
youthful mind is to give it the impression that the old,
great, simple books are declassed, passis , dated, out¬
moded, done-for, and that the revelations of the
Zeitgeist are to be found in the frothy nothings of the
hour, so the best thing that could be done to a youthful
mind is to get lodged in it forever the assumption that
every great classical work is inexhaustible and that there
are still endless aspects of it, deep and subtle, left for
the latest reader to discover. For a youth just beginning
to find out a whole new world of ideas and sensations,
the writings of Walter Pater, especially in that noble
Macmillan edition, are in a sense more precious and
more important than is any particular poem or play
or history in the Greek or in any other language. No
young ‘intellectual* were wise to disregard Pater; for
his critical method - whatever our modern literary
guides may say — has one incalculable value: it associ¬
ates mental ideas with sensuous impressions. Pater
does this whether he is referring to the relation between
ideas and images in the artist’s own mind or to the
relation between his written word and our own sen¬
suous sensations as we appreciate it and appropriate
it. In the matter of collecting books - I mean owning
them and having them on one’s own shelf in one’s
own room-I would put Pater’s works in the very
forefront of those a person were wise to buy.

256

CULTURE AND THE ART OF READING

Pater’s philosophy of critical appreciation will never
be outmoded for a mind sensitive to rare and gentle
things. As a philosophy of life it will hold good when
hundreds of cleverer, more scientific, more startling
systems have vanished like bubbles. It is much more
original than those who disparage it, and it contains
a much more complete way of life. In one thing it is
extraordinarily original; and for this, more than for
any other reason, I would rejoice to see a boy or girl
saving money to purchase these spacious and stately
volumes. It is original, I mean, in the reiterated
emphasis it lays, implicitly between the lines as well as
explicitly in every line, upon the primary importance
of selection in the intellectual life. It avails little for
Pater’s disparagers to upbraid him for this selectiveness
as if it were a species of finicky affectation. Certain
self-conscious preciosities in his premeditated style —
they are all intimately characteristic and many of them
are charming — do not affect this main tendency.
The point really at issue is this — can you build up any
intellectual life at all, can you nourish it, feed it, make
constant and deliberate efforts to keep it alive, without
selectiveness, without being —and why should we be
afraid of the word? — fastidious? The intellectual life
is not at first as natural as breathing.

Afterwards, when it is a second habit, it does
become so. But not at first - not for a long time.
There are certain quite definite efforts that have to be
made; efforts as unpleasant as the effort of waking
yourself up and getting out of bed. Take the case of

*57

i

THE MEANING OF CULTURE

selecting books for a journey. How much easier is it
to choose the last novel by Willa Cather, or Sheila
Kaye-Smith, or Martha Ostenso, than to carry off in
your pocket the ‘Loeb Classics* edition of Homer or
of Virgil! And yet when once you have made that
effort and have opened the ‘Odyssey,* let us say, at
that scene in the house of Alcinous where Nausicaa
waits for Odysseus half-hidden by the side of a smoky
pillar, to waylay him returning from the bath to a
crowded hall-fire to boast of his deeds among these
mackerel-catchers and apple-growers, and the girl
challenges him as to what his feelings for her are who
has just now saved his life, how the old, invincible,
salt air of that great poetry blows round you again,
with all its high, penetrating exultation, transforming
this raw, cluttered, noisy world and remoulding it
nearer to the dreams of all noble spirits.

And then at some later moment of your excursion
or of your daily commuter’s journey, possibly when
some trick of the late afternoon light has made the
houses, the wharfs, the freight-cars float and swim in
a golden dusty haze, you open that Georgic of Virgil
that discourses so pedantically on bee-keeping; and
after suffering a certain disappointment and almost
wishing you had not removed your eyes from the
western glow, you suddenly come upon that rever¬
berating cry, ‘Eurydice! Eurydicel* in the story of
Orpheus; it is as though the desperate lamentation
down all the ages of such as have lost their one of all
ring and ring in those piteous syllables, echoed from

258

CULTURE AND THE ART OF READING

the cold lips of that blood-stained, wave-tossed head.

It is at such moments as these that you bless the
gods that you had the wit to leave the modern novel
and to take the old poet, for at such moments, out of
the printed pages of a book, the whole pitiful-terrible
history of human life mounts up before you like a
beckoning exhalation; and the feelings within you that
are yet uncorrupted, that have remained simple and
primeval below all your ‘bowings in the house of
Rimmon,* rush forth to greet it, spirit encountering
spirit.

Any attempt to live a cultured life must imply many
such occasions as this one; when, at first, you are vexed
with yourself for your priggishness or your pedantry
in persistently carrying an old book about with you,
when there are so many lively and distracting new ones
and when you may so easily grow weary of Virgil
and his bees. But in this whole matter of culture it
must be remembered that we are deliberately sacrific¬
ing certain sprightly, gay and lively pleasures for the
sake of a happiness which flows through us like the
flowing of a tidal wave.

The great passages in the books which live for ever
become, when you suddenly reach them, like the
opening of the gates of paradise; but you can only
learn the magic words that open these gates through
ears that have been purged by a long and silent journey¬
ing over ways that are often tedious, over rocks that
are cold and austere, by shrines that are simple,
quaint, homely and common.

2.59

CHAPTER XI

CULTURE AND
HUMAN RELATIONS

The most difficult adjustment that one’s personal
culture has to make is between one’s own secret,
mental growth and the growth of the other human
minds with which one comes into contact. Excessive
gregariousness is certainly a great hindrance to any
deep intellectual or imaginative life; and though,
when one considers the innate sociability of certain
exquisitely mellow natures, like Goldsmith or Sterne
or Lamb, or even Anatole France, one hesitates to
claim for the congenital recluse all the desired advan¬
tages, it surely needs an inordinate originality, some
diverting twist of character that no frivolities can
smooth away and no superficialities side-track, to
enable us to retain the innate flavour of our reactions
to life under the impact of social pressure.

It is hard enough to find leisure for one’s personal
intellectual existence when one is earning one’s living
in any kind of daily drudgery. But if all the free
moments of one’s life are to be spent in pleasant social
chatter; spent in the amusing discussion of totally
unimportant things, what margin is left to us for
anything else?

The enjoyment of what is called having a good time
260

CULTURE AND HUMAN RELATIONS

is often a far more serious hindrance to an intelligent
consciousness of the subtleties of life than the most
monotonous drudgery. During such drudgery, whether
physical or mental, the mind has many solitary and
free moments in which to think and feel and dream;
but the warm, gross impact of other personalities, as
we enjoy ourselves in an atmosphere of maudlin and
indiscriminate camaraderie , stultifies all the finer edges
of our vision.

From every human being there emanates a psychic
force which is nine-tenths just common animal vitality
and one-tenth the projection of something original
and unique; and it is this one-tenth, because of its
more delicate attenuation, that tends to be completely
swamped on these occasions. The art of conversation
consists in the fostering and nourishing of certain
psychic emanations of unique feeling. From these
emanations everyone in any harmonious circle gains
something ; adding here a fragment, there a fragment,
of fresh mind-stuff, exciting, illuminating, disturbing,
full of new vistas and unexpected aper$us y to what he
has stored up already.

But to be provocative of these stimuli the circle
must be a small one — doubtless even that famous
Athenian circle which was the background of Plato’s
‘Symposium’ was too large. One grows faintly aware
that it was too large from the length of the individual
speeches and the absence of any tentative fumbling,
so to speak, in the air, as all these lovely ideas are
caught and held. Two minds get more out of their

s6i

THE MEANING OF CULTURE

conversation than three can; and three get more than
four. One of the greatest destroyers of real conversa¬
tion is argument. Argument is the silliest of all
methods of passing the time; and by far the most
sterile. In argument people discuss in order to shine,
to make others look fools, to make a show of their own
originality, or cleverness, or learning.

There are few who discuss in order really to influence
or really to convert anyone else; and yet this passion¬
ate earnestness of mind leads to much more interesting
conversation than the itch to score people off. As a
rule no one joins in an argumentative discussion, before
a group of listeners, without being betrayed into a
gross desire to astonish, to make a hit, to cut an im¬
posing figure. All this is totally alien from real
culture; for in real culture what one is after is some
new angle of vision, some new organ of research, some
new mirror of reflection. It is nothing to real culture
who wins in a casual argument or who shows off most
brilliantly before a casual crowd.

A cultured nature is far too egocentric to bother
about shining before other minds or even about
watching the picturesque displays of others. What it
seeks is some new avenue of approach, some unexplored
secret of sensation, some fresh magnet of sensitivity,
that will help it to explore like a liberated tide certain
hitherto untouched promontories.

It is when two people who are very fond of each
other are together-two lovers or two friends-that
the most illuminating vistas of perception unfold

262

CULTURE AND HUMAN RELATIONS

themselves and the rarest-winged moths of life’s
wavering margins are caught upon the wing. What
renders the least flicker of an argument so profitless,
so sterilizing, is that the minds of both the disputants
are turned towards something quite different from
either’s authentic inner truth. All argument is based
upon the illusion that there exists in space-time or
behind space-time some static objective system of
relations and values, some arrangement of forms,
colours, laws of Nature, laws of human nature, pro¬
cesses of magnetism, chemistry, electricity, workings
of psychology, methods ‘ of evolution, which taken
together constitute the truth. There is no such thing.
What we call Nature or the universe is a congeries of
mysterious units of energy, each with a material side
and a psychic side, which are perpetually, by an ulti¬
mate and absolute movement of their essences, creating
new worlds.

Thus there are as many separate truths or illusions
as there are units of apprehension or bubbles of
transitory being. What, therefore, every one’s innate
culture derives from contact with other people’s
cultures is confined to a narrow margin of wavering
exploration. But, since one’s culture is a live thing
and a growing thing, this margin, though of necessity
greatly limited by the fatality of one’s temperament, is
of the utmost importance in our life. Here, upon this
tremulous and quivering borderland, all the most
sensitive antennae and tendrils of our natures are
feeling their way to an enlarged awareness.

263

THE MEANING OF CULTURE

At the first moment when our temperament en¬
counters another temperament all these delicate
feelers retreat and curl up, drawing inwards and curv¬
ing back like the feelers of sea-anemones. If the
Nature we are encountering be unsympathetic, all
that we shall present to the intrusion of the stranger’s
approach will be a shapeless jelly-like substance; but
if this other mind turns out to be akin to our own or
possessed of something in common with our own,
then, by slow degrees, these spiritual antennae of our
secret being will reappear, and will begin to expand
and shimmer in the wave and the sun of that other’s
comprehension.

It is much wiser for any young man or young
woman who is earnestly and passionately aiming at a
deeper and more subtle vision of life to close up tightly,
just as the sea-anemone does, at this first impact with
an alien mind. Let such a one then proceed to be as
civil and polite as he can with the surface of his closed-
up mind, while he sounds by well-timed questions the
nature of the other. But when the moment arrives
wherein he perceives that the newcomer is of human
type sympathetic to himself, then let him be as frank
and open as he pleases, caring nothing about con¬
ventional dignity or worldly reticence. Let him pour
forth all the likings and dislikings of his inmost
being. Let him describe the various mental tricks and
devices by means of which he has come to cope with
this difficult world. Let him try to articulate with the
utmost precision his inmost personal philosophy;

264

CULTURE AND HUMAN RELATIONS

and, as he does so, interrupt himself again and again
to catch, as it were, upon the very wind, the nuances
of his new friend's agreements and disagreements.
If all he desires to do is to express what he really does
feel; and if all the other one desires to do is to express
what he feels, the culture of each of them is bound to
be enlarged, if not by some considerable vista, at
least by some small mole-run or tiny worm-hole of
new apprehension.

Very early in the life of every youth there will be
presented the most teasing of troublesome dilemmas,
the question, namely, of how far he ought to sell his
soul for the sake of his life. Let him clearly recognize
at the very start that no one can live for one single
day in this world without selling his soul to some
extent. Compromise is so profoundly of the inmost
essence of life, that it might be called life's basic and
fundamental law. The opposite of selling one's soul is
suicide. The alternative to compromise is death.
Selling one’s soul, however, is something that ought
to be done quite frankly and quite honestly when it
is done. Nothing that one does honestly — that is to
say, with a childlike attempt to brazen out what one
is ashamed of — hurts one's culture in the way that
whitewashing or idealizing one's meanness hurts it’.

The really cultured man is preoccupied all the while
in an unwearied and persistent struggle to reduce the
margin of soul-selling that is necessary for his life
upon earth. And it is with regard to this margin that
youth were wise to take heed. The great thing is

265

THE MEANING OF CULTURE

never to let yourself reach the point of taking your
soul-selling for granted. The more you dislike it,
the more conscious you are of it and ashamed of it,
the less likely it is to become one of those worldly
compromises that you gloss over with unctuous and
conventional claptrap. It is, in fact, often quite
possible to sell your soul for your life without selling
it for the ‘worldly’ life. It is this worldly life that is the
deadly enemy to everything subtle, gentle, beautiful,
and simple; and one will do well to guard one’s culture
with the most ferocious care from the least tincture of
this accursed thing. Sell, O youth, just frankly and
honestly as much or as little, of your soul as you have
to sell, to live at all; and then fortify yourself against
the conventionalities and brutalities of the world with
every tool and every weapon at your disposal!

The occasion for this innocent Machiavellianism
may easily arise in a young man’s life when in the stress
of his career he has to propitiate various people, who
are in a position to help him. So much is done at the
beginning of a youth’s career by personal influence
that in this particular ‘bowing down in the house of
Rimmon’ it is advisable to sell at least a few wafers of
the sacred substance of your soul. But let it be done
consciously and without any pretence. When, however,
it comes to be a matter of propitiating people by
‘going into society,’ there, if you value your culture
at all, it is necessary to be as cautious as a fox approach¬
ing the kennels of a hunting-pack. Of course if you
have some vein of peculiar genius, driving you on. as

266

CULTURE AND HUMAN RELATIONS

Henry James or Proust was driven on, to analyse
these people and collect them, as entomologists collect
butterflies, it is another thing. If you have a Watteau-
like love of beautiful backgrounds or a mania for that
particular form of airy evasive wit that touches one
subject after another and exhausts none, it is also
another thing. But these cases are rare — most young
men and women ‘ go into society* for very different
reasons from these; and the whole proceeding is like
a subtle acid in the veins of their culture, or like one
of those insidious wood-worms that eat out the heart
of a tree. All these social entertainments have a
tendency to make a person expressive rather than
subtle or deep. A certain nimble wit and superficial
cleverness is in demand; and although there are some
delicate humorists who swim like fish in such waters,
the general psychological effect of society upon a young
mind is to force it to adopt some premature and
striking pose; some pose wherein it begins, half-
unconsciously perhaps, to betray its integrity by exag¬
gerating whatever dramatic and picturesque originality
it may have, such as lends itself to dinner-tables and
drawing-rooms.

It is one thing to sell one’s soul, fragment by frag¬
ment, grudgingly and grimly, for one’s very life. It
is another thing to dance it up and down, like a Punch-
puppet or a Judy-puppet on fantastic wires in order to
tickle the curiosity of a group of well-meaning people,
nice and intelligent, but neither particularly interesting
nor particularly pathetic. What a boy or girl really

*67

THE MEANING OF CULTURE

should aim at acquiring, in this difficult art of adjusting
one’s culture to human relationships, is a Lord Chester¬
field-like courtesy. This is the kind of courtesy so
beautifully defined as the essential aristocratic quality,
in Proust’s analysis of the De Guermantes; and just
as Swann acquired it by a mental tour de force and
the young Marcel acquired it by an imaginative satura¬
tion, so, by using one’s intelligent will over a certain
length of time, one may acquire it as one learns to
swim. What it really amounts to is an elaborate imita¬
tion of the great mediaeval virtue of humility by a mind
that is in reality both proud and rebellious. However
mistaken Behaviourism may be as a philosophy, it can
lead us to a certain suggestive idea as to our method of
conduct; the idea, namely, that if we deliberately
assume the tones, gestures, actions, and expressions of
polite courtesy our inner mood will by degrees corres¬
pond to this admirable masquerade,—correspond to
it, I mean, not in any genial self-deception as to the
nature of the persons we are propitiating, but in an
ironic recognition of the tragic fatality of all human
temperaments, born to so many inherited limitations,
obtusenesses, weaknesses, without their having had the
least power of choice to determine what manner of
person they would select to be.

There are, indeed, two stages in the very beginning
of this difficult art of adjusting your culture to human
relationships. The first stage is to behave with people,
in tone and gesture and action, as if you sympathized
with them far more profoundly than it is possible for

268

CULTURE AND HUMAN RELATIONS

you to do. The second stage is to acquire an inner
mental attitude towards them, which, if not exactly
sympathetic or tender, is an intellectual substitute for
these stronger emotions. It is in fact possible to con¬
centrate your will on people’s behalf in a very definite,
concrete, psychic manner, without being able to feel
any real love. It is possible to identify yourself with
them in a link of imaginative understanding while your
emotional reaction to them is neutral and colourless and
your nervous reaction positively hostile. The cold¬
blooded imaginative understanding to which I have
alluded - and this is the third stage in our psychic
technique - can be converted by slow degrees into
something much tenderer by a concentrated habit of
thinking. It can, in fact, be converted into pity.
Pity arises of itself from the very coldest heart when
certain trains of thinking have led to mental recognition
of the basic terms of human life, realized in their most
stark and unblurred austerity. The reason why so
many warm-hearted people are less considerate and
aware of the tragic human figures that they encounter
than cold-hearted people who have more imagination
is that the former see everything in a rosy, glamorous,
subjective light. But when certain lines of thinking
have led anyone to recognize the part played by the
destiny of temperament in every one’s existence,
there must often rise up of necessity, in the coldest
heart alive, a wave of pity for the annoying, teasing
and repulsive types among such a fate-driven Hock.
But this inevitable pity is not even yet the final stage

269

THE MEANING OF CULTURE

of what the will can do for the mind in this direction,
if the will is steadily orientated and the mind is kept
moderately alert.

What culture has to do to-day in these human adjust¬
ments — and that is what makes it all so difficult — is to
find some substitute for religion. What we have
reached so far is a combination of Chesterfield-like
politeness and Anatole France-like pity. One has only
to name these two cults, however, to experience an
intense revolt against them. But are the only alter¬
natives to these things either a Buddhistic resignation
or a Pauline charity based upon a living faith in Christ?
If it is so, our attempt to reach some substitute for
religion in these developments of what culture contains
has certainly failed completely.

But there is an alternative and it is to be looked for
in the intellectual imagination of the great poets and
artists. Consider Shakespeare and Cervantes, consider
Albert Durer and Rembrandt. Not one of these four
men but managed to acquire his own particular attitude
to human beings, which, while influenced by Catholic
Christianity as well as by the classical civilizations,
became in each case something quite new in the world.
And, moreover, when you consider these four men, and
saturate yourself with their diverse reactions to the
human crowd that jostled round them, it gradually
dawns upon you that there is something in common
among them which is precisely what our culture
requires if it is to establish some habitual mood in
relation to the impact upon us of the human stream.

270

CULTURE AND HUMAN RELATIONS

And what is this something? Our Chesterfield
civility, our Anatole France pity is thickened out now
into an awareness, full of earth-bound rooted humility,
of a certain equality of all souls. Our culture, as we
return to ‘King Lear* and ‘Don Quixote 1 or reproduce
in our minds the pictures of Diirer and Rembrandt,
begins to gather such a basic sense of the tragic poetry
of normal human life that by degrees a feeling of stark,
terrible poignant beauty comes over us, and all human
beings shape themselves in the mirror of our vision as
something infinitely helpless, touching, vulnerable
and frail.

This attitude to the tide of humanity does not
necessarily imply a loving heart any more than it
implies a Pauline ‘Agap£’ or a Buddhistic ‘Peace to
all Beings!’ It is, as a matter of fact, not an emotional
attitude at all, nor a philosophical one-it is an
imaginatively rational one. We come to look at human
beings with the same feeling for their pathetic turbu¬
lent vitality and the sad brevity of their days as we
have when we look at animals or plants or birds. The
worst of the idealistic education that most of us have
had under Christian authority is that it makes us so
ashamed of our real feelings towards human beings
that we indulge in a constant process of self-deception.
This kind of deception is by far the worst. Perhaps it
is the only kind that is intrinsically bad.

A cultured mind need make no hopeless effort to
think pretty thoughts of its fellow-wrestlers in the stark
arena of life. It can very often allow itself to think

271

THE MEANING O t CULTURE

monstrous and hideous thoughts, repulsive and obscene
thoughts. It is in fact a very wholesome and very
restorative process, this thinking in wild, fantastic,
bizarre images of the people that surround us. There
is nothing to be ashamed of in this process. It is an
indication of some deep atavistic craving for solitude;
a craving for solitude so intense that every human
figure that interrupts it tends to assume hideous
proportions and to bulk, large and gross, like a
Rabelaisian nightmare.

This indeed is a magical trick of a cultured mind, to
push real life back, so to speak, a few removes; and to
allow the imagination and even the fancy to play with
it to a desperate tune. If a young man, or a young
woman, feels a longing to indulge in savage mental
caricatures of the people in whose company life has
to be passed, why not indulge it, why not give way to
it? It is by such mental indulgence in huge titanic
ribaldry that we can become tolerant, gentle, amiable,
to the harmless people of our life. There is a deep
restorative comfort in these blasphemous impieties
that makes it far more easy to feel patient and indulgent*
We cannot go too far in allowing our fantastic images
of our friends’ behaviour to mount up into these
mental saturnalias or demonic malice-dances. When
we have thoroughly sated ourselves by visioning our
companions in such monstrous witches’ sabbaths,
we can settle down to regarding them again with quiet
courtesy, watching their faces with tenderness and relief.

Here indeed we touch a secret method wherein our

CULTURE AND HUMAN RELATIONS

culture, in its inmost growth and self-protection, can
exploit both the atavistic savagery in our Nature and
the most delicate Christian refinement. Our culture
has not acquired its full awareness until we cease to
take for granted the impact of other people, until we
cease to accept their presence as an ordinary thing,
in a crude superficial way. Just as culture implies an
intensified awareness of works of genius and of the
forces of Nature, so it implies an intensified awareness
of these troubling and disturbing miracles, these
mysterious alien personalities. Not a day should be
allowed to pass without our having made some
appreciable advance in the complicated art of dealing
with these thrilling and shocking eidola, these alluring
and repulsive apparitions upon our mental horizon!

Nature herself seems to teach us a thousand nuances
of behaviour in our relation with anyone with whom we
are in love; but, even here, of what gross misunder¬
standings, of what clumsy stupidities, of what ungov¬
ernable outbursts are we often guilty 1 It is long before
we learn the simple secret that between men and women
it is as if they belonged to two different species of
creatures. A latent irritation is always ready to rise
to the surface due purely to this - man is an irritating
animal to a woman - a woman is an irritating animal
to a man - the cruder the level of culture in any
society, the more will men tend to herd with men, and
women with women. It is the supreme test of a highly </
sophisticated culture to be able to enjoy to the extreme;
limits the companionship of the opposite sex.

m

THE MEANING OF CULTURE

What modern writers delight to call ‘sex-war* and
‘love-hate* is the most rudimentary and primeval of
sexual relations. Where sex-love is liable at any
moment to turn into sex-hate, the true Eros, the real
emotion of love between the two has not been born at
all. The abrupt and violent changes of sex-partners
which is the fashion of the present hour is simply an
indication of the fact that true love is a rare and
delicate birth and requires the most concentrated and
conscious attention; an attention that a generation
divorced from leisure, simplicity, and routine has no
desire to give. Whether you are in love with the
companion or with the companions of your life, or
whether these beings are merely affectionate friends
or friendly acquaintances, the whole essence of culture
in its relation to them consists in self-control. Not to
possess absolute self-control is either to be always
an uncultivated barbarian or to be, at moments, simply
a madman or a madwoman.

Culture and self-control are synonymous terms - no
refining of one’s taste in aesthetics or in literature can pal¬
liate the enormity of being guilty of ungovernable anger.

What culture ought to do for us is to enable us to
find somehow or other a mental substitute for the
traditional restraints of morality and religion. This
mental substitute has nothing to do with either selfish¬
ness or unselfishness. It is a matter of simple wisdom
and can be used to satisfy both unselfish impulses
and profoundly selfish ones. It is the application of
intelligence to the difficult imbroglio of not being

*74

CULTURE AND HUMAN RELATIONS

able to live alone upon the earth. One’s secret imagin¬
ative life, one’s secret sensational life is subject to the
most miserable disturbance until we gain an absolute
control over the expression of our feelings of pique,
vanity, anger and irritation. This is no counsel of
perfection - to feel really sympathetic, to feel really
tender to others is something beyond all this and
requires a much nobler nature than most of us possess;
though even this can be attained by the meanest and
the basest if such a one desires it with sufficient
intensity. But assuming that one’s emotions are
hopelessly egocentric and one’s heart naturally cold,
the attainment of self-control should be the object of
our cult and this is well within everyone’s power.

The great thing to do is to divide into rigid, separate,
watertight compartments our secret thoughts and the
expression of our thoughts. Jesus, that divine psycho¬
logist, spoke truly when He taught that the state of a
person’s soul is tested by inward thoughts rather than
by any overt actions. He offered, in His divine inspir¬
ation, one cure, and one alone, for the purgation of
these inward thoughts; the magical attraction, namely,
of His new idea of love. But since in this matter of
the meaning of culture we have no right to assume
that any reader has reached the point, either on mystical
grounds or on traditional grounds, of accepting the
teaching of Jesus, it is inevitable that we should go to
wofk in a more roundabout and less drastic manner;
the end, in either case, is the same-namely* the
attainment of a vital art of life. Granting, then, that

275

THE MEANING OF CULTURE

the impact of alien personalities upon our own is a
menace to the peace of our minds and the quiet growth
of our secret culture, and granting that the form this
menace usually takes is a series of violent shocks to
our deepest life-illusion, it seems unavoidable that our
private thoughts about people should be corroded with
wounded pride and poisoned by mental and physical
repulsions. But even if we lack the grace or the insight
to accept the new idea of love so mysteriously discover¬
ed by Jesus, there is an incredible gain immediately
within our grasp, namely to acquire a self-control that
shall build up an impassable barrier between what
goes on in our minds and what we express in words
and gestures. If, as I have already hinted, we indulge
ourselves to the full in the maddest and wildest
envisioning of our friends’ characteristics, exaggerated
to a point of fantastic excess, there will speedily flow
over us a redeeming flood of friendly reaction towards
them, and it will be out of this reaction that our words
and gestures will then spontaneously spring; while
before we indulged ourselves in this furtive ‘malice-
dance/ they were dictated rather by habitual courtesy
than by any sympathetic feeling.

In one’s contact with the human beings that
surround one it is barbarous to reveal every secret
emotion that they excite-it will only be after long
spiritual training that we acquire the art of feeling
towards them as we wish to feel; but our culture is
gravely at fault if we cannot habitually reassure them.
We know well enough how wounding to our own

276

CULTURE AND HUMAN RELATIONS

pride certain brusque rebuffs and certain insensitive
blunderings are; and it reveals us as lacking in the
very rudiments of culture if we cannot at least speak and
act with courtesy and consideration.

Such invariable and unwearied courtesy is in an
especial sense due from us to all servants, and to all
queer, retiring, nervous and unsuccessful people.
No one can be regarded as cultured who does not treat
every human being, without a single exception, as of
deep and startling interest. To be treated with
courtesy of this habitual sort is the unquestioned right
of every person belonging to the race of Homo sapiens;
for every one of us is a world by himself, mysterious
and unique.

Our philosophy, if it be worthy of its name, must
have already taught us something of this insight. Our
aesthetic sense, if it be worthy of its role, must have
given us the trick of catching the magical pathos of
life flickering across the countenance even of the most
uninteresting. And the same habitual courtesy which
a true culture extends to human beings, simply because
they are human beings, it will extend to all sentient
earth-born lives. Since the whole essence of such a
cult is a heightened awareness of the mysteriousness
of the universe, one will gradually acquire, if one
concentrates one’s attention on this, an automatic
gesture of psychic reverence in the presence of every
living thing. What indeed is culture if not an elaborate
substitute for that spontaneous outpouring of love for
all beings, whether human or sub-human, which so

*77

THE MEANING OF CULTURE

many of the mystics and saints and artists seem to
receive as a gift from Nature? Such a spontaneous flow
of love cannot be acquired by taking thought; but
something corresponding to it can be acquired if
certain almost ritualistic movements of consciousness
are deliberately repeated again and again. What we
must assume as our starting-point, so as to keep our
cultural doctrine well within the reach of all, is a
natural temperament rather below than above the
average degree of intelligence.

With such a temperament to work with, the one
thing needful is a desire to make something worth
while of one’s personal life, something worth while
independently of success or failure, of poverty or
wealth, independently of any sort of overt achievement.
Nothing except such a desire is required; such a
desire extended over a long space of time. Given this
desire, the most poorly and meanly equipped person,
as far as natural endowments are concerned, can go
almost any distance.

In this respect real culture resembles religion and
love, well known to be no respecters of persons. More
profoundly than in any other aspect of its relation to
life, culture must consciously seek to rival religion and
love in their most sensitive attitudes towards the
personalities of others. And in this delicate art culture
has a certain advantage over both these formidable
forces, in that it is free from those dark fanatical
passions which are the inverse side of these world¬
shaping impulses. Culture in fact is interested in the

278

CULTURE AND HUMAN RELATIONS

people it encounters just exactly as it is interested in
the animals or birds or butterflies or plants it en¬
counters, and it has within it the power of proving that
this interest — a purely imaginative, sensuous, and
intellectual interest — can be less harmful to the objects
of its attention than bigoted religion or jealous love.

When once a certain detachment from possessive
vice and objective ambition has occurred in the mind,
one starts free and fresh in this complicated art of
dealing adequately with alien personalities. Vice and
ambition are such absorbing motives that under their
influence one grows completely oblivious of the rarer
qualities of others. It is as though one were passing
through a field full of the rarest flowers and grasses
with one’s head so insanely obsessed by some amorous
design or some business encounter that one might as
well be plodding through arid sand. The average or
the sub-average Nature we must assume as our
material, for this premeditated cult will of course
contain many tendencies to just such absorbing vices
and ambitions; and it would be demanding the
impossible to require their eradication. They need not
be eradicated 1 All that is necessary is that there should
be some intervals, some conscious ‘holidays,’ wherein
vice and ambition let us off for a breathing-space.
If we set ourselves resolutely to make the utmost of
these oases in the desert, the very thrill we shall
derive from our liberation from such servitudes, the
lovely relief that will come pouring into us, will of a
certainty lead to a gradual prolongation of our moments

*79

THE MEANING OF CULTURE

of freedom. Leisure of some sort we must snatch. Out
of the economic slavery of each day we must steal, by
hook or by crook, enough margin of unburdened
consciousness to keep our souls alive. If one is very
poor and finds one’s moments of freedom wickedly
curtailed, there is at least this consolation; that the
rich and leisured who would have so many moments
of magical delight waste them and despoil them in
every kind of fatuous distraction. There can be no
doubt that for most of us who have preoccupied
ourselves for some while with the sort of culture I am
defining, our happiest moments will be when we are
quite alone, or alone with our very dearest companions.

To display a preference for living with a large group
of people or for going about with a large group of
people seems a sign of a very rudimentary stage of
human development. In the presence of such a group
one can only assert oneself grossly, crudely, ineffec¬
tively, and if one is of a retiring disposition one can
only be trailed about after the rest. The lovely and
magical influences which in every moment of silence
flow forth from Nature, influences which hover like
tutelary spirits round every plant, tree, and hillside,
are disturbed and with sighing sent away by the
uproar of any crowd. To escape among such calm
influences and to be alone with them is the chief secret
desire of every cultured mind: and how often is it
frustrated!

What culture must learn to do, when the insolent
impact of noisy people has spoilt moment after moment

CULTURE AND HUMAN RELATIONS

of precious, unreturning felicity, is to use its memory.
How intensely and tenaciously one must drink up
every drop of mystic-sensuous pleasure from these
calm magical scenes, notice everything, miss not the
curve of a leaf, or the bend of a grass-blade, or the
stirring of a feather! Only by letting each least detail
of the earth’s life sink into your mind when you are
alone can you store up a sufficient number of memories
to protect you from those arid and sterile moments
when you find yourself forced to live in a group of
people.

A great imaginative man-lover, like Shakespeare or
Sterne or Lamb or Dickens, has the power of deriving
the same profound satisfaction from the agitated
countenances, so grotesque, so rapturous, so troubled,
of our battered humanity, that another type of mind
derives from Nature; but for most of us this thing is
beyond our reach. For most of us the more intensely
and obstinately we build up our inner life of sensations
and ideas, the more difficult does it become to bear
the impact of other personalities. The great thing is,
as I have tried to suggest, to practise a Lord Chester¬
field-like courtesy towards everybody one encounters,
especially towards those who are poorer, weaker, less
lucky than oneself. This practice, this habitual ritual
of consideration, is entirely within the power of the
mind; whereas to feel love or tenderness, or even pity,
implies a temper of spirit that one perhaps can never
reach, or only reach after long practice of the outward
gestures. Any philosophic contemplation of the

*8i

THE MEANING OF CULTURE

injustice of social differences, any philosophic recogni¬
tion of the pressure of fate upon us all, making one
person healthy and another person unhealthy, giving
one person a well-balanced temperament and another
a self-lacerating temperament, any philosophic aware¬
ness of the fact that no ego selects its heredity and
environment, ought to be enough to throw some
degree of sympathy, however cold and detached, into
these automatic and habitual gestures of universal
courtesy.

The race is not always to the swift. Time and chance
wait for all men. The luck that is yours to-day may be
another’s to-morrow. The misery that is yours to-day
may be past like a summer shower next month or
next year. Not only the fatality of one’s temperament,
not only the destiny of one’s heredity and environment,
but pure accident plays an overpowering and dominant
part in one’s days. One may well be awed and hushed
when one thinks what a part, for example, pure chance
plays, chance the greatest of all the gods, in those
accidental encounters with this personality or with that
personality such as absolutely change the whole course
and current of one’s life.

Destiny and chance taken together give one in fact
all the people of one’s life - these, and just a residual
element of choice, if we have had the wit to keep alert
and watchful as we went through the market-places of
the world. When, however, a certain pessimistic
type of temperament concentrates upon this fate and
upon this chance, and refuses to allow any place at

28a

CULTURE AND HUMAN RELATIONS

all for that energetic, interior, resistant power of the
whole personality that used to be isolated from the
rest and named ‘the will,’ one ought to reassure oneself
in the simplest of all practical ways, namely, by the
exertion of this will. It will be found, and this is what
experience itself, not any extravagant faith, teaches,
that every time you gather up the forces of your
personality to deal with some hostile or indifferent
human being, such forces prove more available and
more formidable than before. It is a grievous pity
that the finest culture, instead of fortifying this interior
gathering together of one’s forces, very often weakens
and disintegrates it. The less culture people have, the
more resolute seems to be this interior resistant
energy. The less intelligence, the more will-power,
seems to have become a sort of natural law.

It is a shocking thing to see delicate, refined,
imaginative natures living under the stupid despotism
of some gross, unenlightened animal-will. Yet how
often do we see exactly this. It is almost invariably the
weaker in will who set about to struggle to win the
secret of culture. It is, in fact, because they are the
weaker in these more primitive forces that they are led
to think about culture at all. People whose natures
tend to what is called ‘force of character’ are generally
people whose energy is directed upon the toughening
of the fibres of their personality rather than upon the
refining of their sensitiveness to the subtleties of
things. This toughness, this sturdiness and massive¬
ness of character, is a much more valuable asset in

283

THE MEANING OF CULTURE

the struggle of life than it is in the struggle to gain
culture. In fact it often may be noted that the more
competent a person grows in his handling of practical
life, the more blunt, opaque, and impenetrable he
grows in regard to the imponderable influences of
the intellect and the senses. Thus while no youth or
maid who loves culture need be for one instant depress¬
ed by aspersions upon weakness of character, it is
nevertheless a wise thing to develop the will. It is a
wise thing because, just as in the case of a certain
necessary self-confidence and a certain necessary
dissimulation, one has often to fight the world with its
own weapons. If you are not a saint, and sometimes
even if you are, it is necessary to deceive one’s fellow-
creatures in many important matters. What, of course,
one longs for is that power shall fall into the hands
of the intelligent, the non-moral, the considerate,
the gentle; and to this desirable end it is important
that all weak, sensitive, and nervous people should
deliberately gather together the forces of their natures
so as to revolt against the dominion of the stupid.

One must always do what one can to assist this
subterranean conspiracy of the sensitively weak against
the insensitively strong. This invisible psychic contest,
occurring wherever two or three are gathered together,
is like the contest between light and darkness; and there
are few such encounters when an opportunity does not
arise to throw whatever weight one has into the melee.

To sum up the whole matter; what an imaginative
culture must do in dealing with others is to acquire

CULTURE AND HUMAN RELATIONS

the habit of regarding everyone except oneself as under
the absolute domination of fate in all their ways and
words and feelings, while at the same time one recog¬
nizes that all one’s own ways and words and feelings
are under the control of one’s free will. It is the
assumption that people could be different if they
liked that is so dangerous to our temper and our
patience. We must assume that they cannot be different
and never had the chance of choosing to be different.
It is we ourselves who have to use our will to change,
to recreate the reactions of our consciousness to life.
To leave other people alone is the wisest and kindest
thing; but if an obvious appeal, conscious or uncon¬
scious, is made to us to intervene, the best way of
influencing others towards what we ourselves regard
as the true way of life is to let them see that we already
assume that they are what we would have them be.
If in your opinion people are behaving basely and you
desire to change them, it is always to their imagination
that you should appeal, rather than to their will.
Upbraid them not for being what they are; but on the
contrary let them grow aware that you take it for
granted that they already are the very thing into which
you seek to change them.

There are, however, few things more dangerous
than to go about spreading any philosophic disbelief
in the power of the will. In your general attitude to
mankind it is best to regard all men as absolutely bound
by the fatality of their temperament, while you alone
are responsible and free; but in any statement of your

285

THE MEANING OF CULTURE

philosophic opinion it is imperative to confess your
secret knowledge, based upon your inmost experience
that there is no limit to the power of the human will.
In contact with others what one is for ever confronted
by are the startling varieties of religious and moral
dogmas. One were wise to keep in mind the antiquity
of the earth and to note the immense divergences
between the various systems wherewith men have
mitigated the frightfulness of suffering and the gaping
ambiguity of death.

There is something impertinent and arrogant in an
attitude of condescension towards any religious belief
or any moral scruple. The earth is so old and the
generations of men recede so far into the abyss of time
that one should take it for granted that there is some
measure of earth-wisdom clinging to every vestige of
superstition.

In regard to one's attitude to this startling variety
of religious and moral opinion, it seems as if it were
advisable to do reverence to all of them and regard
them all as of equal value and weight, while with proud
humility one obstinately follows one's own individual
path. To consider one's path not the noblest or the
wisest but simply as one's own seems the best way;
as the path upon which one’s own private and quite
personal experience of life has inevitably thrust one.
Consider the contrast which is always presenting itself
in these modern days between the old-fashioned
attitude to life and the new-fashioned enlightened
attitude. Consider the contrast between a rigid sex-

186

CULTURE AND HUMAN RELATIONS

morality and a fanatical faith in free love. No one can
live in any modern community without overhearing
fierce and violent discussions of all these things. A
person who is what I have been trying to define *as
cultured will slip out of such discussions and refuse
to commit himself. He will know that there is much
good to be got out of every single heart-felt way of
life; only perhaps more good where the thing is very
old.

He will know that some human beings ruin and
blight themselves by old-fashioned sex-suppression
while others ruin and blight themselves by new-
fashioned sex-excess. He will know that if religion
and sex-morality are destined to perish, they will
perish slowly — over the space of many years — and
not without several intense, passionate rebirths. He
will know that as far as other human beings are
concerned it is always best to leave people mentally
and morally alone while you lavish whatever generous
impulses you may have in making their bodies com¬
fortable. The more money you give to people the
better; and the less advice.

No man really enters into the sorrows of another or
knows what hurts his heart; but every man can see
the difference between a person who ‘puts himself
out’ and one who goes bluntly and tactlessly on, and is
aware of nothing. In dealing with human beings
there is no need that your secret life, your secret
mythology, should be interfered with by your impulses
to unselfishness. What people want is money; and

287

THE MEANING OF CULTURE

after that, attention. They do not want to be inter¬
fered with any more than you do yourself. Give and
pass on. Listen and pass on. It is incredible what a
difference it makes to one’s feelings towards the whole
human race when one is treated with politeness and
kindness in buses, trains, trams, subways, ferries,
stores, shops and streets.

And knowing what one feels oneself, it seems simply
barbarous to act curtly, brutally, indifferently to others.
It need not be a matter of Christian feeling - Christians
have very often the worst manners in the world. It
need not be a matter of goodness of heart or of un¬
selfishness. It is simply a case of natural earth-wisdom.
If you are morbidly sensitive yourself, it is certain
that the general atmosphere of sensitiveness in the
world will be palpably and appreciably increased by
your own civility.

There is no great culture needed to make one
behave with courtesy and lively attention to the rich,
the beautiful, the famous. Where our true sophisti¬
cated culture shows itself is in our attitude to the
unimportant, the negligible, the weak, the mean-
spirited, the pigheaded. The weaker and sillier a
person is, the more intense should be the concentration
with which one listens to his words and gives his
fumbling spirit one’s full attention; for it always
requires more effort to get interesting reactions from
a simple fool than from some clever devil who delights
in showing off.

Deep should be our philosophic awareness of the
288

CULTURE AND HUMAN RELATIONS

extraordinary drama in which we are all involved; this
life ofwhich not one day is a replica of the last, these
encounters whose crucial and terrible importance may
never be recognized, or only recognized long after¬
wards when it is all too late. It is a monstrous thing,
the way we all drift and jostle and barge against one
another without any method or any awareness of what
is going on between us. Skeletons, clothed in flesh,
clothed in coverings stolen from other animals, we
talk, jest, and scold. But the look from the eyes of a
living being is a strange and terrible look, not easy
to be discounted. What is it that gazes forth, so grim,
so furtive, from the eye of a man? None knoweth!
There may be yet some deep, undiscovered power in
human personality that will one day crack the compla¬
cent walls of this tough world and plant the crazy
gonfalon of its impious importunity in some plane of
existence altogether beyond the mathematical fourth
dimension. Meanwhile, involved as we all are in the
same tragic imbroglio, our feelings, our minds, our
nerves all vibrating to old totems and old taboos,
encrusted with old, dark, perilous superstitions,
nourished by old, deep, bitter-sweet earth-wisdom, it
is an impertinence for any among us to separate
ourselves from the rest and patronize the rest.

Educated people can take sides fiercely and violently
in the controversy between Catholics and Protestants,
between moralists and non-moralists, between Liberals
and Communists. Cultured people find it hard to do
this. They may lean to one side or the other; they
k 289

THE MEANING OF CULTURE

may even belong to one side or the other; they cannot
bring themselves to denounce the antagonist of their
side as just an ill-bred, dissolute and wicked ass.
They cannot bring themselves to patronize such
antagonists or to behave superciliously towards them
with an airy, snobbish condescension. In relation to
one’s fellows, culture implies an earth-deep humility.
Like that charity defined by St. Paul it is not puffed
up. Culture does not show itself among men as
something ponderous, majestic, pompous, imposing.
It does not ‘show* itself at all I Like the Tao y so
subtly described by the philosopher Kwang Tze three
hundred years before Christ, it flows through the air,
swims in the water, burrows in the earth, moves
imperceptibly from mind to mind, and ‘by doing
nothing does everything.’ It draws out others rather
than asserts itself; it is a listener rather than a dog¬
matist, a peacemaker rather than a disputant. It
has as much respect for the peculiar intelligence of
women as for the peculiar intelligence of men. It uses
the woman’s mind as well as the man’s mind in its
perceptions of truth.

And as for the truth which it pursues through all
situations and through all obstacles with the flexible
sinuosity of a serpent, it finds it for ever in two places
-in everything and everyone; and in nothing and no
one.

290

CHAPTER XII

CULTURE AND
DESTINY

Since the aim of culture is to nourish within us a sturdy
yet sensitive organism that shall be able to deal with
the eternal recurrences of life and death, it is clear
that there must be many occasions when we have to
come to terms in some sort of way with the moral,
social and political systems in the midst of which it is
our destiny to live. What then are the moral implica¬
tions which culture — by the mere fact that it is what
it is, a definite orientation of the mind and the will -
contains within itself as the laws of its very being?
What, in plain words, is the morality of culture, in its
contact with the current morality of the society around
it?

In the first place it preserves below all earthly
contacts some kind of instinctive communion with
the hypothetical first cause. This communion implies
neither piety nor superstition. It implies nothing but
an alternation between gratitude and defiance.

In the second place the unspoken creed of culture
implies an obstinate determination to be happy at all
costs; and even where happiness is impossible, to
assume what might be called the mental gesture of
happiness until the wheel of chance shall turn.

291

THE MEANING OF CULTURE

In the third place the morality of culture implies a
laissez faire attitude towards others. This means that
cruelty of every sort, righteous or unrighteous, sadistic
or disciplinarian, mental or physical, is a thing to be
abhorred. Other people are not to be meddled with.

In the fourth place, whenever other people meddle
with us; and either by exciting our pity, or by making
overt appeals to us for help, for comfort, for influence,
for love, impinge on our solitude; culture, let us hope,
will not be lacking in the two great virtues of imagin¬
ative compassion and self-controlled courtesy. These
two impulses will generally be found to drive us to
certain actions of practical charity: but what we give
to humanity in return for its gifts to us is not our love,
nor our meddling, but our patience and our work.

In the fifth place, the fluctuating and malleable
creed of culture will imply a constant refining upon our
powers of imaginative analysis, in regard to the Protean
truth of things, and a constant refining upon our
powers of perception, in regard to the mysterious
beauty of things. Thus in a large measure one’s notion
of true culture follows the great Goethean doctrine,
‘live in the Whole, in the Good, in the Beautiful,’
while we must still allow ourselves to remain very fluid
and sceptical as to what this whole may be, or this
good, or this beautiful.

Of the three Goethean Absolutes it would seem, if
our interpretation of culture is not grievously in error,
that the good is the most unmistakable. No tricky
sophistication, no parodoxical aesthetic theorizing,

292

CULTURE AND DESTINY

can spoil our simple, direct recognition of the good.
The good is the spontaneous, instinctive attitude of
goodness in the human heart. It is the possession of a
sweet-natured, considerate, courteous and compas¬
sionate disposition - a disposition which may often
coexist with the most rudimentary education and with
the most unenlightened ignorance. It is this courteous
and compassionate goodness which culture, if it is to
follow its destiny without remorse, must, by hook or
by crook, develop; and if it cannot develop it, all in a
moment, it must perform the gesture of such feelings,
until the feelings themselves and their outward practice
become an inward impulse.

From what precedes it will easily appear that the
cultured person, as long as tolerance of cruelty is not
concerned,, will take an extremely free and sceptical
attitude towards the various sex-taboos of the com¬
munity into which his destiny may have flung him.
Against cruelty of whatever kind - perhaps most
especially when the impulse behind it is a perverted
and corrupt morality - he will protest, ‘to the fire
exclusively* and sometimes into the fire! But short of
cruelty he will be wise enough to hold his tongue.
Ironic submission will be his cue. Such submission,
wary and sly, weary and patient, humble and proud,
grave and ironical, has been from time immemorial
the retort of culture to the uncultured. Culture is not
everything. Life will go on somehow; Nature will
right herself somehow. Culture must steal something
of that abysmal humility of spirit which, along with its

*93

THE MEANING OF CULTURE

grand discovery of what might be called the equality
of all souls, is the gift of Christianity to the training
of the human mind.

Here indeed lies a secret. Culture learns from the
greatest of all psychologists, the speaker of those
sublime sayings in the Gospels, that until, in a very
curious and peculiar sense, it acquires the art of for¬
getting itself, it does not attain its subtlest illuminations.

But although life will go on somehow, and the great
mysterious movements of the world proceed, whether
culture flourish or perish, it remains that in the decline
of religious faith and the collapse of moral custom
some new orientation of the human spirit is above all
things necessary.

In regard, then, to the attitude of culture to the
morality of the community wherein its destiny has
plunged it, it must be remembered that its basic creed
contains no conception of what is called sin, except
when such sin takes the form of cruelty. The one
grand commandment of culture is, ‘Thou shalt not be
00161.’ On all other points what true culture does is
to suspend its judgment, retain its self-control, govern
its own actions according to its secret cult of silent
happiness and its secret hostility to noisy, violent
pleasures, and leave other people alone. A cultured
man or woman is a stoic-epicurean in a community
of greed and piety; but if he is wise, no one will know
what he is. There will be however, as with the early
Christians, a secret freemasonry between cultured
people, drawing them together in an intense com-

m

CULTURE AND DESTINY

munion of intellect and binding them, in an invisible
company, with the spirits of all similar lonely ones in
the past.

Culture is not all honey. Stark and austere are many
of the moods by means of which it has to defend itself.
On all sides are its enemies; enemies of tolerance,
enemies of light, enemies of pity, enemies of imagina¬
tion.

Its greatest hindrance, its most troublesome stumb¬
ling block, will be the ugliness of the objects around it
and the bustling ineptitude of the unenlightened
crowd. These obstacles to its life will be much worse
in any town than in any countryside. In the country
Nature will always have her secret ways of restoring a
human spirit that has been bruised by the brutalities
of the world. But in a town such brutalities echo from
wall to wall and ricochet from pavement to pavement;
for they have only the obscure coping of the sky to
absorb them and the hot dusty airs to swallow them
up.

Granting that the wiles of ironic submission have
enabled us to deal with personal contacts, how are we
to adjust our minds to all this external hideousness?
How are we to stiffen ourselves against these poisonous
effluviae, this brazen clamour? We have already hinted
at the only wise resource. We must acquire the art of
forgetting. The art of forgetting is indeed culture, her
very self, practising her own peculiar magic. The grand
device is to see these horrors without seeing them, to
hear them without hearing them; to smell them without

*95

THE MEANING OF CULTURE

smelling them, to taste them without tasting them.

The same method applies to the human crowd. One
has a perfect right to feel altogether differently towards
crowds from the way one feels towards individuals.
The best way to deal with a crowd that is pressing hard
upon you and jostling you, is to repeat over and over
again in your heart the Buddhist formula ‘Peace to all
Beings! 1 If this formula fails of its effect you may
know that the maliciousness in your nature is stronger
than the humility; and the best thing to do then is
immediately to reduce the whole crowd before you to
invisibility; which can be done by thinking it away.
To every other unit in the crowd you are yourself, of
course, part of the crowd; and while you reduce them
to invisibility you must submit to the hope that they
in their turn will have the wit to practise this same
delicate magic upon you.

Just as you reduce to a shifting vapour a lively
crowd in a street, so it is often wise in any group of
people so completely to sink into your own thoughts
that all material substances — including human bodies
— disappear from consciousness. But the destiny of
our days often compels us to listen to people’s conver¬
sation, or even, if they are of a dogmatic turn, to their
teaching. This misfortune can be avoided by acquiring
the harmless little art - a very easy thing - of display¬
ing intense interest in what people are saying while
you are thinking out some problem of your own or
dreaming some dream of your own totally uncon¬
nected with them.

296

CULTURE AND DESTINY

And as with human beings, so with buildings. It
is very unlikely that your destiny will have placed you
in a beautiful city. The chances are that you will have
to encounter, day after day, shops, office-buildings,
chapels, churches, hotels, municipal buildings, bank-
buildings, theatres and picture-houses, not to speak of
those surprising freak-erections called ‘residential
sections’ that make human architecture a wanton
jest — buildings in short which cause no reaction of
any kind in the mind except a numb, weary patience
with the whole trend of modern civilization. All
around you, above, below, and in the air, hum and
buzz and drum and scream and snort the various
mechanical inventions of our western world. Here
destiny has placed you, here in the midst of all this,
and if your culture is worth anything it must enable
you to deal with it. And it can, it can! It can enable
you to be as completely indifferent to these things as
if they were of less importance than the soap you use,
than the brush with which you brush your hair, than
the polish you put upon your shoes, than the enamelled
walls of your bathroom.

Culture does not fail her idolaters. One has only to
watch the ecstatic absorption of any boy or girl reading
a book in the midst of the city’s traffic; one has only to
watch a group of people staring in sublime, world-
forgetting rapture at some Shakespearian gesture of
Charlie Chaplin; one has only to watch the entranced
expressions on the faces of the devotees of some great
musician as they lean forward in their balcony and

297

THE MEANING OF CULTURE

forget everything that awaits them when it is over,
forget even what continent or planet they inhabit; to
become aware that culture has the power of enabling
us to be happy in the only way wherein most human
beings can be happy —in complete defiance of their
surroundings.

Outworn, misused, misapplied for so long, the aristo¬
cratic ideal is now quite dead. There is no escape from
machinery and modern inventions; no escape from
city-vulgarity and money-power, no escape from the
dictatorship of the uncultured. All over the western
world rules that fatal star which the crazy interpreter
of the Apocalypse in ‘The Idiot’ calls ‘the Star Worm¬
wood.’

If culture were everything, lamentable indeed would
be the outlook. But culture is not everything. It is
much that the poor should have bread. It is much
that women should be liberated by the power of
machinery from the servitude of the old time. It is
much that people’s nerves should be' attuned to the
sufferings of others. It is much that education and
electricity should be brought into the homes of the
masses. All honour to social progress, to social
emancipation, even though paid for by so terrific a
price. But the price is heavy - universal education
means a press, a pulpit, all pandering to that universal
taste which is the opposite of all taste. Ideas may be
proletarian ideas, Fascist ideas, capitalistic ideas,
imperialistic ideas; but they must, above all, be ideas
that can appeal to public opinion. At the steering

298

CULTURE AND DESTINY

wheel of the great industrial machine sits, not wisdom,
but efficiency.

These are days when the very word culture has
become a term of contempt. And all attempts to
stem the tide have a certain shamefaced air of self-
conscious affectation. The great standardized torrent
of megalopolitan pleasures, megalopolitan sports,
megalopolitan values, sweeps round us and over us
uttering a raucous monotone of irresistible triumph.

What then, in the name of all the high traditions of
our race, is culture to do? One thing it can do and one
thing alone; and it is the purpose of this work to point
steadily to this one thing. It can save the individual.

There is no reason why, in this age of scientific
invention and mass production, the individual con¬
sciousness should not find its own interior happiness,
its own interior peace, in those thoughts and feelings
that have inspired and sustained humanity for un¬
numbered ages. Although science can change the
outward customs of the world we live in, it cannot
despoil the winds of heaven of their power, or take the
poetry out of the seasons, or strip the morning and
the evening of their solemnity, or make the sun and
the moon to be of small account, or turn the ocean
into a little thing. Birth and death, the mystery of love
and the mystery of the passing of love, the wonder of
the oblivion of sleep and of the refreshment of sleep,
the marvel of the heroic affections of men and women
looking beyond loss and separation and the bitterness
of the grave — these are the things upon which that

299

THE MEANING OF CULTURE

deliberate simplification of the imagination, that
unwearied training of the feelings, which we have come
to name culture, must continue to concentrate their
obstinate attention.

In the old days, as has been so often proved of late,
the lives of human beings were bound closely together
in those traditional and imaginative cults which were at
once political, mystical and aesthetic. With the
appearance of scientific industrialism and democratic
imperialism all this has come to an end. Money and
machines between them dominate the civilized world.
Where these are checked to some extent by a certain
public spirit, as in England, or by a certain semi¬
religious despotism, as in Russia and Italy, or where
they produce widespread prosperity, as in America,
their practical efficiency forces us to condone their
abuse. But, between them, the power of money and
the power of the machine have distracted the minds
of our western nations from those eternal aspects of
life and nature the contemplation of which engenders
all noble and subtle thoughts.

What therefore it behoves culture to do is to save the
individual in the midst of this industrial hubbub and
endow him with enough peace of mind to breathe, to
look round, to look forward and backward, to take
stock of his emotional and intellectual resources and
to see where a calm happiness can still be found. One
thing we know: such happiness will not be found
between the dilemma-horns of pleasure and ennui.
Rapid movement and nervous exhaustion are the

300

CULTURE AND DESTINY

alternating poles of our disorganized life. Stoical
enjoyment of the little, simple things which alone
bring permanent contentment has become the unenvied
fatality of those who gain a precarious living on the
land or at sea. The rest of the world looks at these
primitive lives with uneasy wonder; or makes hapless,
spasmodic attempts to snatch at their advantages
without paying the price.

It is culture alone that can relieve this emotional
and imaginative sterility; and it can do so only by its
appeal to the individual. For the individual who
depends for his happiness purely upon the motions
of his own mind has become independent of his material
surroundings. He can live in the most crowded city
and yet solace himself with the night and the day,
with the look of clouds and the feel of air and rain,
with the dark-blue light that comes on clear evenings
and stretches itself, like the great concave transparent
wing of some titanic archangel, over the lighted city-
roofs, with the patches of grass and with the smell of
the salt sea or a solitary seagull’s passage over the
highest tower, and above all with his called-up images
of country days, vaguely remembered in his blood and
bones. And such an individual man or woman, carrying
to a comfortless job through clanging streets the cheap¬
est of old school-editions of some immortal book, can
mount the stairs of his secret psychic watch-tower and
think the whole antheap into invisibility. This is what
religion and love can do for the uncultured and it is
what the cultured — if their fate is to be without love

301

THE MEANING OF CULTURE

and without religion — can do for themselves. Out of
the pages of a book can spring forth a whole terraque¬
ous landscape; seas, shores, pastures, orchards, fields
of barley and of rye, Arabian gardens and Gothic
roofs. Vague, delicious memories, obscurely recovered
sensations from our remote past, ay! even from the
past of our people, can buttress us - if we let a wisely-
dreaming imagination play upon them — against all
the iron-shafts, all the evil smells and brazen clatter,
all the litter and the dust, of the worst city in the world.

Our destiny is something that has gathered about us
like a great sea, drawing its tributaries from many
inland rivers and many far-off hills. On its heaving
tide fluctuates the mirage of the material moment, with
its edifices of money and industry, the apartment-
houses and the paved roads. Up and down, upon its
rocking phantom-waves, tremble and topple the walls
of our material surrender; but wrestling with destiny,
all but free of destiny, the mind that nourishes itself
upon the imaginative traditions of our race preserves
the integrity of its being. Such a mind is aware of the
great inviolable constellations that follow their un¬
changing orbits, high up above the surf, in the calm
heavens. These majestic watchers are untouched by
fashion; indifferent to invention; but they are fecund
of healing and prolific of peace; and for the voyager
who detaches himself from the hurly-burly and drinks
the grey rain of # silence upon the roof of the world
they are the glow-worms of pure thought.

Among other aspects of our destiny in this modern
302

CULTURE AND DESTINY

regime, the rumour of politics makes itself only too
audible. Is our man of culture implicitly committed to
any cause, to any party, to any reaction, to any revolu¬
tion? It does not seem so. Common sense alone would
indicate that there can be good men, religious men,
heroic men, absolutely disinterested men, under any
gonfalon. So also there can be cultured men under
any. It is the heart, where the mischief lies. It is the
heart that turns a capitalist into boa constrictor, a
communist into an inquisitioner, a fascist into an
assassin, an Englishman into a double-dyed hypocrite.

Culture demands that you should be good and
humble and free from the burden of possessions. Such
humility, such goodness, such freedom from possession,
are necessary mediums of psychic clairvoyance. Con¬
ceit seals up the exploring antennae of your free
sensibility. Malice and hate distract you and waste
your life-energy. Possessions make you a fussy super¬
cargo. Three men lack the porous skin through which
the magic of the world can flow: the conceited man,
the vindictive man, the rich man. There is a kind of
literary vagabondage that is as conceited as an alderman
on Sunday. A tramp - though it is scarcely for the
lucky ones of the world to blame him — can ruin his
casual moments of happiness by his natural fury
against society. A king’s son can detach himself
from an empire’s privy purse. It is all in the mind.

What the cultured person finally comes to assume is
that — short of hideous physical pain or the loss of the
only one he really loves - his mind can do anything he

3°3

THE MEANING OF CULTURE

decides it shall do. We refer, of course, to whether such
a mind decides to be happy or decides to be un-
happy. It cannot make itself clever or learned or
humorous at will. But happy or unhappy it can make
itself, though not by any fixed rules. Towards a
steady, obstinate determination to be happy — to
endure happily or to escape — a thousand little things,
‘feathers in doorways, straws upon winds/ gravitate
by an inherent necessity. If mystics can, by an effort
of their spirit, unite themselves with whatever myster¬
ious power it may be that they regard as their deity,
why cannot an ordinary cultured person, who doubts
perhaps the very existence of the anima muttdi itself,
will, in conscious premeditation, his own happiness?
Like that lovely spirit of divine charity which Christian
mystics teach can be acquired by the meanest of men
if they want it enough, a certain stoical happiness can
be won by the cultivation of the imagination and the
will - if one wants it enough. Day after day one has to
practise the sublime art of forgetting. There are horrors
in life that must not be thought on, for that way mad¬
ness lies. At first it is so hard to forget certain horrors
that one feels it is a fantastic undertaking even to try.
But when one begins to believe, lo! in the wink of an
eyelid the miracle has been half accomplished. Prac¬
tice, and a certain stubborn fierce, fighting resilience
in one’s nature will do the rest. Culture is the bed-rock,
the final wall, upon which one leans one’s back in a
God-forsaken chaos.

But what a silly mistake it is to take for granted that
3©4

CULTURE AND DESTINY

the human mind necessarily wills its happiness! There
is a great, black, horned devil in it that wills unhappi¬
ness. One has to grow very wise or very simple before
one recognizes the fact that each solitary human mind
is its own creative god and its own destructive devil.
The mind is a portion of the absolute; and if it can draw
upon all the absolute's celestial armoury, it can also
draw upon all the absolute's infernal engines. In the
absolute both good and evil descend to fathomless
depths; and both can be tapped at will by the conscious
mind; for the back of the conscious mind is a strange
No Man's Land, whereof all the borders melt into the
absolute.

There must be certain works of art in every intelli¬
gent person’s life, in whose presence he has had the
luck to surrender himself where the hour and the
place cohered, which must remain for ever in his mind
as symbols of his deepest wrestling with destiny. Such,
for one man, no doubt, would be the Ninth Symphony
of Beethoven; for another, the Moses of Michelangelo,
for a third the Pentecost of El Greco, for a fourth the
enthroned Demeter in the British Museum. A cultured
man must have of necessity something of the polytheist
in his blood; and there will be for him in all probability
more than one of these god-like symbols of his secret
life. At the bitter moments when things are hard with
him, he will revert to these ‘huge cloudy symbols’ or
the heroic wrestlings of man with fate, and will gather
comfort and strength. A person who has stared at the
Pantheon, or who has climbed alone on some still

305

THE MEANING OF CULTURE

evening when the crowds of the city were en fite in
another direction, the high Acropolis hill, has some¬
thing in his memory that he can plant, like an inviolable
monolith, firm and sure, in the swampy ground of the
evil moment.

When one travels among uncongenial people and
has to listen to tedious talk and ‘the loud laugh that
speaks the vacant mind,’ how salutary a device it were
if one carried in one’s pocket a small Greek or Roman
coin, so that without making any sign one could
secretly, with the tips of one’s fingers, trace the outlines
of some cold, unapproachable, god-like profile. The
mere touch of such a thing would restore one’s feeling
of the dignity of the human race, and wipe out the
outrage done to it by this warm, sticky, perspiring
atmosphere of boisterous good-fellowship with its
undertone of insensitive brutality.

It would seem that what is really covered by the great
classic word ‘destiny’ is first of all one’s inherited ten¬
dencies and then one’s environment. Something else
more intimate than either of these, however, seems to
have become attached to it, connecting one’s inherited
fatality of temperament and one’s external circum¬
stances with a certain direction of movement which
springs from some subconscious element in one’s own
unique character; something intimately peculiar to
oneself, neither ‘made,’ as the creed says, nor begotten,
but proceeding.

Our premeditated and personally built-up culture
can have, of course, no effect at all upon our inherited

306

CULTURE AND DESTINY

disposition. This portion of destiny is altogether
outside its control. And it is only if one is of a very
competent, drastic, reckless and bold character, that
one can do much to alter the outward circumstances
of one’s life. In desperate straits even the weakest
worms will turn, and even the least practical among
men and women will assert themselves and shuffle
the cards of their outward fate. But if one takes as
one’s stoical motto the oracular words ‘endure happily
or escape,’ it will be generally the enduring rather
than the escaping that will be our lot.

But it is over this strange, residual element of
destiny, this queer bubbling up of destiny-quicksilver
which seems to spring from something in us which is
larger, wider, and more magical than our conscious
self, that culture can exercise its rational power. Over
this sublunary, magnetic force, drawing its magnetism,
it might almost seem, from some secret mine-shaft in
our being, our rational culture does come to win a
most significant control. It is indeed one of the subtlest
of all the secrets of culture, this trick of bringing one’s
conscious reason into harmony with the strange power
in oneself, the power which seems in touch with some¬
thing outside the fatal streams of both heredity and
environment.

To alter the main direction, as one moves through
the world, of this formidable daimon or tutelary pilot
of one’s inner life, is as difficult as it would be unwise.
This power within us - this portion of our destiny
which belongs neither to heredity nor environment - is
3°7

THE MEANING OF CULTURE

wiser than our conscious being, wiser than the rational
processes of our culture. It drives us by some mysteri¬
ous impulse into many actions and many changes that
well might seem rash, mistaken, foolish and ill-advised.
But as time goes on these actions, these changes, will
be found strangely justified. They will turn out to have
been after all not debouchings from our true path,
but bridle-paths rather, by which we attain, where we
least looked to find it, the King’s highroad of our
fate.

Though it were unwise, and perhaps impossible,
to alter the main occult direction of this portion of
our destiny which is our very own, it is legitimate,
and indeed absolutely necessary, to steer it, guide it,
govern it, in all matters of detail. Here we find our¬
selves, our inmost selves, face to face with our most
vivid self-consciousness, and like a rider mounted upon
an immortal horse, the conscious self commands its
mysterious companion. This commanding of our
inmost destiny by our conscious mind is one of the
most important engines of our course through the
world; and it is here that all the acquired tastes, refine¬
ments, insights, illuminations, that we have with
difficulty made our own, find their purpose.and their
orientation fulfilled.

What seems, a.t least to the present writer, to render
books and the choice of books so much more important
an aspect of our culture than music or painting or
architecture can ever be, is the fact that unless we are
born with some strong bias in favour of any of these

308

CULTURE AND DESTINY

great arts, they are so much harder to get into touch
with in their highest forms than literature is. Second-
rate music, or first-rate music inadequately rendered,
is around us all the while. Fifth-rate paintings, or
great paintings inadequately reproduced, hang upon
all our walls. Unless it is our luck to live in an old
country, where the anonymous work of many genera¬
tions, mellowed by time, insensibly heightens the whole
background of our days, we shall be constantly
confronted by fifth-rate houses, offices, theatres,
city-halls, shops, factories, warehouses, schools, tene¬
ments, residential sections, among which it will be only
now and then that something noteworthy emerges.
This inferior music, these wretched reproductions of
paintings, this uninspiring architecture, is around us
all the while. Few children of men are so favoured by
the gods as to escape from them.

But second-rate books one can entirely escape! No
one can force you to read books — unless you are at
school or at college - which you know to be inferior
to the best. Wherever you may be now, reader, at
this very second, while you are reading these simple
words, if you are in a house or in a city or a town,
‘stop, look and listen , 1 and you will be aware of
architecture, of furniture, of pictures, of bric-i-brac,
of musical noises, of carvings, of mouldings, of fabrics,
of scents, of tastes, and above all of an aura, that will
contain something - not a great deal perhaps, but
certainly something — that is so repulsive to you,
so poisonous to your nature, so contrary to all your

3°9

THE MEANING OF CULTURE

ideas of what beauty is, and what truth is, and what
noble simplicity is, that it will scarcely bear thinking
on. To try not to taste it, smell it, feel it, hear it, see
it, or catch the invisible vibration of it, will be your
only refuge; in other words you will find yourself
instinctively practising the nice art of forgetting, the
art of using a certain subtle magic that can reduce these
things to invisibility, to inaudibility, and even into
temporary non-existence.

One’s normal days in any large city, and in most
small ones, are continually spent amid architecture
that is no architecture, pictures that are no pictures,
music that is no music, and sights, smells and vibrations
that are just the very things to loathe and abhor which
the culture of half your lifetime has been sensitizing
you and refining you.

Literature alone is something that conceals itself;
for no one can force you to read advertisements or
literary supplements; and withdraws itself, hiding in
shelves and libraries and bookshops, until the exact
moment arrives, propitious, auspicious, and under the
right astrological influences, when you need just that
particular book and no other. The outward destiny
which places you near a good library is one of the
redeeming aspects of a big town or a big university;
but the nucleus of your culture will never abide in
such a library, no! not even if it be the very Bodleian
itself. It will abide in your own mental fortress.
Your mind will be its own little round tower of Mon¬
taigne the Essayist. And as for collections of books,

310

CULTURE AND DESTINY

how independent of outward destiny is the man whose
great library of Alexandria is contained in one small,
portable shelfl Small enough that shelf can be to
stand at your bed’s head or even on the ground of your
nomad’s tent or beneath your charts in your ship’s
cabin.

Every cultured man, every cultured woman will
have his own secret ecclesia of precious books. The
present writer’s would be the ‘Iliad’ and the ‘Odyssey’,
the texts of the Chinese Tao in James Legge’s trans¬
lation, the Psalms of David, the four great novels of
Dostoievsky, Goethe’s ‘Faust,’ Shakespeare’s Plays,
Wordworth’s Poems, Pater’s ‘Marius’ and as many
of the volumes of Proust as such a tiny shelf had room
for. It is, as we have hinted, a matter of your outward
destiny what music, what drama, what sculpture, what
paintings, what architecture, what delicate bric-a-brac
your wanderings may have enabled you to light upon.
But it is a matter of your inward destiny — beyond
heredity and beyond environment - what books your
mysterious daimon> upheaving from out of the eternal
through the phenomena of the temporal, has given
you the grace to select.

Here, in the depths of your being, the real cultural
struggle goes on. Your culture is the rational guidance,
by all the intellectual consciousness you can bring to
bear, of this instinctive, impulsive, subconscious
choice; and in this deep underworld of your nature
you are at once a creative god and a destructive devil.
Heaven forbid that we should underrate the life-

311

THE MEANING OF CULTURE

creating effect upon this inward destiny of ours of
the great music, drama, sculpture, architecture, paint¬
ing, that we have the luck to encounter.

Certain things once heard, once seen, may have the
effect of changing the timbre of one's whole life. The
huge series of Wagner's ‘Ring,' a single Symphony of
Beethoven, the Cathedral at Chartres, the ruins of
Glastonbury, Titian's Bacchus and Ariadne in the
National Gallery, Leonardo's Virgin of the Rocks in
the same place, The Three Fates in the British
Museum, the Aphrodite of Melos in the Louvre, these
are things that might easily launch a person, whether
of a romantic or of a classical nature, upon a long
quest.

Culture, heaven knows, is a very indulgent and
sometimes a very eccentric mother. Precious and
never-to-be-despised is a naive, idealistic, half-con¬
ventional adoration of the world-famous objects of art,
objects that, like the Louvre Aphrodite, or Raphael's
Madonna at Dresden, or the Hermes of Praxiteles,
or the Elgin Marbles, or the Gothic cathedrals, have
obsessed the imagination of our race for so long. To
regard with supercilious contempt such simple rever¬
ence, however innocently expressed, however ignor¬
antly conventionalized, is to insult that noble hero-
worship in the heart of man by which the generations
lift themselves up. But it cannot, all the same, be
denied that the more cultured a person is the more
daringly will he follow some curious bias in his own
secret nature in regard to music and art. The age of

312

CULTURE AND DESTINY

sublime, heroic objectivity in these high matters seems
to have been destroyed for ever by the terrible cosmopo¬
litanism of modern inventions.

Behold individualism, rampant, shameless, romantic,
realistic, angelic, devilish, proud, humble, childish,
senile, gay, pessimistic, mad, marches conquering
across the whole terraqueous globe! With cosmo¬
politan industry, cosmopolitan commerce, cosmo¬
politan finance dominating the world, in the wake of
cosmopolitan science, what can local, aesthetic tradi¬
tions do against such a tide? Still they hold on, fierce,
stubborn, reluctant, earth-rooted, these heroic racial
traditions, each with its own mysterious, subconscious
destiny.

But rapid transportation erases their boundaries
day by day. Day by day the wireless neutralizes them,
aeroplanes drop spiritual poisons upon them; the press,
the movies, cheap translations, vulgarized tourist-
facilities, corrode and corrupt them. Their hidden
earth-bound destinies, drawing sap and pith from their
immemorial local legends, are caught up, are swept
away, on one tangential wind after another; and, as
they waver, fluctuate, diverge, take alien colours, alien
shapes, their old, revengeful, exclusive, local divinities
forfeit their faithful obedience.

What then is left? Spengler in his great book
suggests that the day will come when grass will grow
in the streets of Berlin, London, Paris, New York,
Chicago; when the inspiration of inventors will cease;
when nomadic fellaheen tribesmen and rustic heathen

3*3

THE MEANING OF CULTURE

peasantries will bow themselves in passive helplessness
under warring Caesars and despotic Tamerlanes.
These new rulers of men will have dispossessed of their
transitory authority both capitalists and communists,
both cosmopolitan financiers and cosmopolitan pro¬
letariats; and the high destiny of our race will sink
back and sink down into some long epoch of historyless
chaos, out of which, once more, in its orbic cycle, in
its great new ‘Platonic year,* the creative energy will
emerge and enter upon some totally unforeseen,
unpredicted avatar.

But confronted as we are by so much vigorous,
youthful, violent activity, by so much savage science,
it is hard to visualize our present industrialism, whether
capitalistic as in America, or communistic as in Russia,
as something old, world-weary, civilized, and in the
autumn of its days. Who can tell? Science and
machinery may, for all we know, get into quite other
hands than those of new predatory conquerors. There
may arise some grand, irresistible, devoted free¬
masonry of men of goodwill and of wise wits all the
world over. If there were enough individual men and
women in every country who had acquired in place of
an angular nation-spirit a well rounded earth-spirit,
who can predict what might not be done?

As things are now, it seems wiser to gather together
one’s own personal life-forces, one’s intelligence, one’s
instincts, one’s imagination, one’s will, and make
something of the only democracy, the only kingdom
one has control of - namely, oneself. It seems wiser

3H

CULTURE AND DESTINY

to do this than to engage in the already lost cause of
re-establishing on wavering and quaking foundations
the old local cults.

Any real, beautiful, noble culture is founded upon
dreams. Without long, lovely moments spent in day¬
dreams life becomes an iron-ribbed, sterile puffing
engine. And that is what our rulers and moralists of
to-day want to make it and keep it: a moralized
machine. But how cunningly must we guard our
leisure to dream and with what divine unscrupulousness
must we steal it! Any boy, any girl, who has spent
an hour in happy dreaming has already fulfilled the
purpose of creation. Out of His dreams God created
the world; and shall not His creation imitate Him?

It is against this new-fangled, commercialized motto
of ‘Service* that culture must lift up her beautiful
thousand-years-old snake’s head. Contemplation, not
activity of any sort, is the purpose of the universe - or
at any rate of that universe which all mystics and artists
and lovers and sensualists and saints have substituted
for the sterile mirage of objective truth. And every
day-dream, begotten of pleasant leisure, by well-side
or fire-side or window-sill, is a sort of ‘chewing of the
cud* of immortal and god-like contemplation, and is
worthy of a high place in the order of a good life.

Happy are those persons whose outward destiny
leaves them at least one solitary, independent room to
retire to at night. It is a pitiful and a wicked shame
when young girls have to go on for years and years
living at home. It is easy for young men to retain their

3i5

THE MEANING OF CULTURE

individuality and live a life of culture in their parents*
dwelling: it is almost impossible for a girl to do so.
There is something about the parental aura — however
kind and unselfish her parents may be - that is deadly
to a girl's nature; and as cruel to her culture as the
most insidious drops of poison. Her parents indeed
may be fussing anxiously about her chastity while
they themselves are all the while murdering her
noblest culture more wickedly and effectively than
could the most treacherous of lovers!

One learns indeed from the subtle stories of Dorothy
Richardson what exactly it is that a mother's influence
does to a daughter's life. Every woman is a creator,
in the sense of creating a kind of spiritual menage round
her, wherever she is. She does this as instinctively
as a silk-worm spins its cocoon. But by a terrible and
cruel law of Nature there cannot be two menages under
one ceiling; so when a girl lives with her mother the
deep creative instinct within her, that instinct which
is her inward destiny, that instinct which is the very
material of her culture, is teased, suppressed, tantalized,
unsatisfied.

Even so —for ‘old maids’ under certain conditions
can be the most cultured persons of all — an unmarried
woman living with her mother can, by sheer intellectual
and imaginative power, liberate herself while she is
still enslaved. But she must fight tooth and nail for
a room entirely her own — never entered by her mother
— and for the right to retire to this room as often as she
pleases. It is in the direction of cultural solitariness,

316

CULTURE AND DESTINY

not in the direction of rowdy parties, that young
people’s liberty, of both sexes, should be gained.

True culture demands a certain degree of sensuality,
of sensual ecstasy even; but this sensuality need not be
gregarious . Culture, in fact, desires for a young person
just the very opposite of what most employers,
preachers and moralists desire. These desire for the
youth of both sexes, when not hard at work, an exhaust¬
ing round of lively, gregarious, wholesome, athletic
distraction. Culture, on the contrary, desires for the
youth of both sexes, long, silent, solitary hours full of
mystical, poetical and metaphysical thought.

The outward destiny of all of us is of course most
fatally influenced by public opinion. Except where
public opinion is opposed to cruelty-and this, alas,
is rare - public opinion is always wrong. Thus in the
great struggle between culture and destiny, which
resembles those austere contests in classic drama be¬
tween the hero and fate, culture will be found constantly
at war with public opinion. Public opinion is always
trying to democratize culture —in other words to
prostitute it and change it. Public opinion — led by
affected rhetoricians — is always seeking to encourage
the latest fashions and obsessions in art, the latest
fashions and obsessions in thought, religion and taste.
Against all this, culture stands firm; grounding itself
upon the eternal elements of Nature and human nature.

The world is very old and the human race is very
old. All these problems of human life are difficult and
obscure. No ready-made solution can deal with them

U7

THE MEANING OF CULTURE

— not even the best of modern theories about education.
What has been suggested in this book is a view of
culture, by no means the only possible one, wherein
education plays a much smaller part than does a certain
secret, mental and imaginative effort of one’s own,
continued day by day, and year by year, until it becomes
a permanent habit belonging to that psyche or inner
nucleus of personality, which used to be called the
soul. But theories of this kind have been offered to the
world for more than ten thousand years. Again and
again have they been offered; far more nobly expressed
and far more subtly and clearly thought out than in this
tentative and hesitant work. But the real deep thoughts
of the individual human being are left very much as
they were ten thousand years ago. Dubiously, fluctua-
itngly, they alternate — these ultimate human thoughts

— between gratitude to the unknown and indignant
stoical defiance. Philosophers have repeated again and
again their smooth rational pronouncement that it is
foolish to be afraid of the gods. But in spite of philoso¬
phy -and doubtless because of our stupid and cruel
offences against one another - ‘conscience doth make
cowards of us all/ Culture, as some of us have come to
understand it, does not take up any dogmatic attitude
with regard to the existence, or the non-existence, of
God or of the gods. It recognizes irrational hopes and
fears. It takes account of many rumours caught on
passing winds, of many voices heard in solitary places,
of many reef-bells over strange waters. It allows for
queer second-thoughts and for startling, mysterious

318

CULTURE AND DESTINY

intimations that escape all logical capture. In its patient,
slow, dreamy methods of waiting upon the motions of
the spirit, culture comes to recognize that there are
levels in human feeling that apparently belong to
dimensions of existence beyond the chemistry, beyond
the electric magnetism, of the whole stellar system.

Remembering these feelings in its calmer and more
rational activities culture is loth to commit itself to
any final word. In the midst of the turbulence of
modern life it offers a calm refuge, a patient, sceptical
but not cynical standing-ground, from which we can
survey the track of our journey through the years
without too much self-abasement and without too
many regrets.

For culture has at least this-that it reconciles us
to the two destinies, both the inward and the outward,
and resigns us to that final shock of death which brings
these two incomprehensible things together; brings
them together on the brink of a third thing, more
incomprehensible still, the great Perhaps of silence.

THE END

319

A LIST OF BOOKS IN

THE LIFE AND LETTERS SERIES

at 4s. 6d. net each

THE TRAVELLERS’ LIBRARY

at 3s. 6d. net each

AND OF VOLUMES PUBLISHED IN THE
UNIFORM EDITIONS OF THE WORKS OF

RADCLYFFE HALL
SINCLAIR LEWIS
MARY WEBB

AND

E. H. YOUNG
at 5s. net each

JONATHAN CAPE

THIRTY BEDFORD SQUARE LONDON

A NOTE ON THE ARRANGEMENT
OF THIS CATALOGUE

The main body of the list is arranged alphabetically under the
names of authors. In addition, for the convenience of readers,
there is an index at the end giving the titles of all books included
in this catalogue arranged alphabetically and there is also an index
of titles arranged according to their numbers in each series.

The Life and Letters Series has been reviewed by
Mr. Frank Swinnerton in The Evening News thus:
‘The first volumes of this new and handsome series
should meet the most modern taste. Here in beauti¬
ful light form are books which have all been pre-
J viously published within the last three or four years

— — at much higher prices.

1 ..— ‘Of the first titles every one is the kind of work

to make any keen reader say to himself, “I wish
I could afford that! If it were cheaper I’d buy it!”

‘With the price 4s. 6d. a volume, the appearance handsome and
very agreeable, The Life and Letters Series can be afforded. The
bargain will be a good one.’

ANTHONY, Katherine

CATHERINE THE GREAT. With a Frontispiece No. 13

‘This lively and well-written study is a judicious treatment of a tem¬
perament and a reputation, and the whole book is a contribution to
the study, not only of Catherine the Great, but of a significant period
in Russian history.’ Time and Tide

BELLOC, Hilaire

A CONVERSATION WITH AN ANGEL No. 27

In this volume of essays Mr. Belloc well maintains his usual high level
of pungent and witty writing. His subjects are varied as they are
diverting, and include pages on poverty, academic hate and epigrams,
on Renan, Gibbon and Macaulay, on witchcraft, pavement artists and
bridges.

BERCOVICI, Konrad

THE STORY OF THE GYPSIES. Illustrated from

photographs by E. o. HOPPi No . n

‘The author of this fascinating book has not only made researches into
the history of this people but has also lived, travelled and been enter¬
tained by them. Though it would be extravagant to say that he had
the genius of George Borrow, it is certain that he has more respect for
the truth and for scholarly fact than had that great though erratic
man.* Listener

BIRKENHEAD, The Late Earl of, edited by

THE ADVENTURES OF RALPH RASHLEIGH (a penal
exile in Australia 1825-1844). Illustrated from facsimile
pages of the original MS. No. 20

This book reveals, through the sufferings and vicissitudes of a single
convict transported to New South Wales for burglary, a vivid picture
of the conditions under which the penal code was administered less
than a hundred years ago.

BONE, James

THE LONDON PERAMBULATOR. Illustrated with

drawings by muirhead bone No. 23

‘The quiet humour of the writer and hand of the artist go together to
present the majesty, the beauty, the variety, the oddity of London in
a book one would not soon tire of praising.* Times Literary Supplement

BROWNLEE, Frank

CATTLE THIEF No. 32

This is the life story of a South African native. In its divination of
the native mind the book is a little masterpiece. More than this, the
exploits of Ntsukumbini, a member of a family of professional stock
thieves, his outwitting of the police, his experiences in the gold mines,
his loves and sorrows, make really good reading.

BUTLER, Samuel

EREWHON. A Satire. Illustrated with woodcuts by

ROBERT GIBBINGS No. 16

‘To lash the age, to ridicule vain pretensions, to expose hypocrisy, to
deride humbug in education, politics and religion, are tasks beyond
most men’s powers* but occasionally, very occasionally, a bit of
genuine satire secures for itself more than a passing nod of recognition.
Erewhon is such a satire. . . . The best of its kind since Gulliver’s
Travels.* augustine birrell

3

BUTLER, Samuel

ALPS AND SANCTUARIES. Illustrated with two maps No. 25
'Alps and Sanctuaries is essentially a holiday book, and no one ever enjoyed
a holiday more keenly than Butler. Here we see him in his most
unbuttoned mood, giving the rein to his high spirits and letting his
fantastic humour carry him whither it would/ From the Introduction
by R. A. STREATFEILD

CUMMINGS, E. E.

THE ENORMOUS ROOM. With a Frontispiece portrait of
the Author, and an Introduction by Robert graves No. 2

‘He reveals himself as a man of sensibility and fortitude, and he writes
always with such good taste that I do not think anyone reading his
book could feel otherwise than that it is the work of a rare, fine spirit/
Sunday Times

DARK, Sidney

FIVE DEANS. With five illustrations No. 26

‘The five Deans drawn and characterised in this book are Colet,
Donne, Swift, Stanley, and Inge. ... It is extraordinarily brilliant,
carrying the reader on with unflagging interest from beginning to
end. The writer is gifted with a sure instinctive capacity to exclude
the dull and the heavy, and to include the humanly interesting and
attractive/ The Church Times

DAVIES, W. H.

THE AUTOBIOGRAPHY OF A SUPER-TRAMP.

Illustrated from four portraits of the Author and an Intro¬
duction by GEORGE BERNARD SHAW No. 6

‘I recommend this most remarkable Autobiography of a Super-Tramp
to your special attention/ george Bernard shaw

DE KRUIF, Paul

MICROBE HUNTERS. Illustrated by four portraits No. 3

This book captures for the reader something of the intellectual excite¬
ment and romance associated with the works of the greater scientists.

DIMNET, Ernest

THE BRONTE SISTERS. With four illustrations No. 19

The Brmti Sisters is an ideal co-mingling of critical biography and
literary criticism. With great tenderness, with much sympathy, but
with rigid intellectual honesty, the author recreates for us the parsonage
and its inhabitants, and brings especially to the mentality of Charlotte
and Emily Bront£ a fresh analytical talent.

4

DOUGHTY, Charles M.

PASSAGES FROM ARABIA DESERTA. Selected by
Edward Garnett. With Frontispiece No. 21

‘Charles Montague Doughty was one of the great men of our day, the
author of a unique prose masterpiece. For many readers it is a book
so majestic, so vital, of such incomparable beauty of thought, of
observation, and of diction as to occupy a place apart among their
most cherished literary possessions.’ Observer

GRAVES, Robert

GOOD-BYE TO ALL THAT. With eight illustrations No. 22
‘ Good-bye to all That is a very good book, both picturesque and honest,
and excellently written. Robert Graves is a fine poet—none better
to-day, in my view. All poets write good prose, and he does. . . .
It is the sincere and convincing expression of a distinguished indi¬
viduality.’ ARNOLD BENNETT

HORN, Alfred Aloysius

TRADER HORN (The Ivory Coast in the Earlies). Edited
by ethelreda lewis. With an Introduction by JOHN
GALSWORTHY. Illustrated with portraits No. 4

‘This is a gorgeous book, more full of sheer stingo than any you are
likely to come across in a day’s march among the bookshops of where-
ever you may be.* From mr. John Galsworthy’s Introduction

THE WATERS OF AFRICA. Edited by ethelreda lewis No. 28
Even more mysterious than the cannibals and shadowy rivers of
Western Africa is the East Coast of fifty years ago with its magic
island of Madagascar and its island-sewn Mozambique Channel.
Here, as in his other book, the famous conversations of Horn with his
editor amplify the old man’s narrative.

JACKSON, Holbrook

THE EIGHTEEN NINETIES. With twenty-six illustrations No. 17
‘The curious investigator of the future will always be able to see the
period’s main outlines, and to find them clearly traced in Mr. Hol¬
brook Jackson’s animated and attractive pages.* The Daily Telegraph

LUBBOCK, Percy

EARLHAM. With a Frontispiece No. 7

‘The book seems too intimate to be reviewed. We want to be allowed
to read it, and to dream over it, and keep silence about it. His judgment
is perfect, his humour is true and ready } his touch light and prim ;
his prose is exact and clean and full of music.* Times

5

LUBBOCK, Percy

SHADES OF ETON No. 30

The author was at Eton in the ’nineties of the last century. To those
years belong the figures and scenes recalled in this book—in which
they appear as they seemed to a boy, and in which an attempt is made
to measure the effect of Eton on a boy’s imagination. Warre himself,
F. W. Wane-Cornish and his wife, H. E. Luxmoore and A. C.
Benson were among those who counted most deeply in that impression;
these and other figures familiar to Etonians of that time are sketched
in detail.

LUDWIG, Emil

GENIUS AND CHARACTER. Illustrated by sixteen
portraits No. 9

‘As in his longer biographies, it is the dramatic values of motive and
action he seeks, the flashes of illumination in the chiaroscuro investing
a lonely figure. This is not a ponderous book; it is a series of vivacious
and sometimes very moving studies.’ The Spectator

MAYO, Katherine

MOTHER INDIA Illustrated No. S

‘It is certainly the most fascinating, the most devastating, and at the
same time the most important and truthful book that has been written
about India for a good deal more than a generation.* New Statesman

McCURDY, Edward

THE MIND OF LEONARDO DA VINCI No. 31

Mr. McCurdy has made a special study of the manuscript and note¬
books of Leonardo, a selection of which he edited. He attempts here
a biographical study of Leonardo in which the subject’s mind and
mentality is the selective factor. The book is in three parts and deals
with the period of his life at Florence, at Milan, and during the years
of his wandering.

MUIR, Edwin

JOHN KNOX. Illustrated by four portraits No. it

The study is not concerned with the truth or the falsehood of Calvin¬
ism, but rather presents the Calvinist in all his activities from the great¬
est to the most trifling, and shows his creed working out, here in heroic
and there in ridiculous form.

6

NILES, Blair

CONDEMNED TO DEVIL’S ISLAND. The biography
of a French Convict. Illustrated from drawings by B. K.

MORRIS No. 10

Mrs. Blair Niles is the first woman to have been allowed to visit the
most notorious Devil’s Island since it became a penal colony. She
describes this penal settlement in the person of a young French
burglar, and tells an almost unbearable tale of thousands of men
starved of hope and leisure.

SHAND, P. Morton

A BOOK OF FOOD No. t

Dr. Johnson said : ‘Most people have a foolish way of not minding
or pretending not to mind, what they eat. For my own part I mind
my belly most studiously and very carefully ; for I look upon it that
he who does not mind his belly will hardly mind anything else.’

SIEGFRIED, Andr 6

AMERICA COMES OF AGE. A French Analysis. Illus¬
trated by eight maps and diagrams. Translated from the
French by h. H. hemming and doris hemming No. i

‘It is a brilliant study of the most important, and in some ways the
most interesting, though certainly not the loveliest, nation on earth.’
THE VERY REV. DEAN W. R. INGE

SULLIVAN, J. W. N.

BEETHOVEN, His spiritual development. Illustrated No. 15

‘Few men are better qualified to write a study of Beethoven than Mr.
J. W. N. Sullivan. . . .’ The Spectator

‘It is a striking merit of Mr. Sullivan’s book that it explains
Beethoven to the unmusical philosopher.* The New Statesman

WALLAS, Graham

THE ART OF THOUGHT No. 24

A book written with the practical purpose of helping the apprentice
thinker to become a competent craftsman. The author examines the
proposition that the human mind is ‘actuated by instinct, but instru¬
mented by reason,’ and suggests its application to our own thought.

7

WEST, Rebecca

THE STRANGE NECESSITY : Critical Essays No. iZ

Miss Rebecca West’s book is a sequence of challenging studies of
modern books and authors. The Strange Necessity —Art—which is so
inclusive of opposites. Speculating on this brings Miss West to an
analysis of literature, and the discovery of a double and vital function
which it fulfils for man.

WILLI AMS-ELLIS, Clough & Amabel

THE PLEASURES OF ARCHITECTURE. Illustrated
from drawings and photographs No. 14

This book will bring enlightenment and entertainment to those who
like a well-built house or office building when they see it, but are not
quite sure as to the reasons why they like it.

WOOLLEY, C. L.

DEAD TOWNS AND LIVING MEN No. 29

Dead Towns and Li<ving Men describes the training that goes to make
a fully equipped archaeologist, the sort of places, usually far away
from the beaten track, that he lives in, and the sort of men, usually
ignorant and sometimes half-civilised, whom he must control and live
with. Archaeology as a satisfying human adventure has never been
better described than in this book.

S

The Travellers' Library contains books in all
branches of literature, fiction and non-fiction,
poetry and prose, copyright and non-copyright.

The series is designed for the pocket, or for the
small house where shelf-space is limited. Special
care has been taken with the production of each
volume, type, paper and binding having all been
chosen with this end in view, and at the same time
made worthy of the books selected.

Note

The Travellers' Library is published as a joint enterprise by Jonathan Cape
and William Heinemann. The series as a whole, or any title in the series, can be
obtained from any bookseller. In any case of difficulty application should be
made direct to either Jonathan Cape, London, or William Heinemann, London.

ANDERSON, Sherwood

HORSES AND MEN. Stories No. 54

‘Horses and Men confirms our indebtedness to the publishers who are
introducing his work here. A man of poetic vision, with an intimate
knowledge of particular conditions of life, here looks out upon a world
that seems singularly material only because he unflinchingly accepts
its actualities.” Morning Post

ANONYMOUS

ENGLAND’S GREEN AND PLEASANT LAND No. 161
A study of rural life. ‘His picture is vivid, vivacious, scintillating}
and behind it is the busy brain of the reformer, the warm heart of the
true lover of his kind.’ Manchester Guardian

ARMSTRONG, Martin

THE BAZAAR. Stories No. 77

‘These stories have considerable range of subject, but in general they
are stay-at-home tales, depicting cloistered lives and delicate, finely
fibred minds. . . . Mr. Armstrong writes beautifully.* Nation and
Athenaum

9

ATKINS, J. B.

SIDE SHOWS. Essays. With an introduction by JAMES bone No. 78
Mr. J. B. Atkins was war correspondent in four wars, the London
editor of a great English paper, then Paris correspondent of another,
and latterly the editor of the Spectator. His subjects in Side Shows are
briefly London and the sea.

BARING, Maurice

HALF A MINUTE’S SILENCE. Stories No. 153

Tales from Russia, some of them accounts of real happenings } ghost
stories, school stories, classical inventions, character sketches, fairy
tales and parodies, legends and romances.

BATES, H. E.

THE TWO SISTERS. A novel No. 160

MR. edward Garnett in his foreword to The Two Sisters says : ‘A
novel of rare poetical order ... his achievement is that, while identi¬
fied with his creations —Jenny, Jessie and Michael —the author has
known how to detach himself from these figures of eternal youth and
show them, with all their tumultuous, passionate emotions, in a
beautiful mirror.'

BELLOC, Hilaire

SHORT TALKS WITH THE DEAD No. 79

In these essays Mr. Belloc attains his usual high level of pungent and
witty writing. The subjects vary widely and include an imaginary
talk with the spirits of Charles I, the barber of Louis XIV, and
Napoleon, Venice, fakes, eclipses, Byron, and the famous dissertation
on the Nordic Man.

BENNETT, Arnold

THE OLD WIVES’ TALE. Two volumes. Nos. 166 and 167

‘All attempts to sum up his merits and measure his achievement must
rest upon The Old Wives* Tale* The Times

BERCOVICI, Konrad

BETWEEN EARTH AND SKY. Stories of Gypsies. With
an Introduction by A. E. cofpard No. 117

Konrad Bercovici, through his own association with gypsies, together
with a magical intuition of their lives, is able to give us some unfor¬
gettable pictures of those wanderers who, having no home anywhere,
are at home everywhere.

10

BIERCE, Ambrose

CAN SUCH THINGS BE ? Stories No. i

‘Bierce never wastes a word, never coins a too startling phrase; he
secures his final effect, a cold thrill of fear, by a simple, yet subtle,
realism. No anthology of short stories, limited to a score or so, would
be complete without an example of his unique artistry.* Morning Post

THE MONK AND THE HANGMAN’S DAUGHTER.

Written in collaboration with adolphe danziger de castro No. 34
‘These stories are evidence of very unusual powers, and when once they
have been read the reader will feel himself impelled to dig out more
from the same pen.* Westminster Gazette

BIRRELL, Augustine

MORE OBITER DICTA No. 140

‘Age has not wearied Mr. Birrell’s humour ; nor have the years
condemned his whimsicality. He remains as delightful a companion
as ever.’ Nation and Athenaeum

BOURGOGNE, Sergeant

MEMOIRS OF SERGEANT BOURGOGNE. With an

Introduction by sir John fortescue No. 148

It is vivid from the first page to the last and the subject, the Retreat
from Moscow, is unexampled in its horrors. Bourgogne is French of
the French—a typical soldier of the Guard, brave, quick-witted,
resourceful, gay and humane.

BOURNE, George

A FARMER’S LIFE No. 3a

The life-story of a tenant-farmer of fifty years ago in which the author
draws on his memory for a picture of the everyday life of his immediate
forbears, the Smiths, farmers and handicraft men, who lived and died
on the border of Surrey and Hampshire.

BRAMAH, Ernest

THE WALLET OF KAI LUNG No. x8

‘Something worth doing and done. ... It was a thing intended,
wrought out, completed and established. Therefore it was destined
to endure, and, what is more important, it was a success.* hilaikb

BELLOC

XI

BRAMAH, Ernest

KAI LUNG’S GOLDEN HOURS No. 16

‘It is worthy of its forerunner. There is the same plan, exactitude,
working-out and achievement; and therefore complete satisfaction
in the reading.* From the Preface by hilaire belloc

BRONTE, Emily

WUTHERING HEIGHTS No. 30

‘It is a very great book. You may read this grim story of lost and
thwarted human creatures on a moor at any age and come under its
sway.’ From the Introduction by ROSE MACAULAY

BROWNE, Lewis

THE STORY OF THE JEWS No. 146

Here is a history which is more absorbing than any work of fiction-
The author traces the beginnings of the Jewish race from the wander¬
ing Semitic races of Arabia, through interminable strife, oppression,
expatriation, up to modern times.

BUTLER, Samuel

EREWHON. A Satire No. n

‘Occasionally, very occasionally, a bit of genuine satire secures for
itself more than a passing nod of recognition. Erevohon is such a satire.
. . . The best of its kind since Gulliver s Travels' AUGUSTINE
BIRRELL

EREWHON REVISITED. A Satire No. ia

‘He waged a sleepless war with the mental torpor of the prosperous,
complacent England around him $ a Swift with the soul of music
in him, and completely sane ; a liberator of humanity operating with
the wit and malice and coolness of Mephistopheles/ Manchester
Guardian

THE NOTE BOOKS No. 75

'The freest, most original and most varied thinker of his generation.
. . . Neither Erevohon nor The Way of All Flesh , but the posthumous
work entitled Note Books will stand, in our judgment, as the decisive
contribution of Samuel Butler to the thought of his age/ Nation
12

BUTLER, Samuel

SELECTED ESSAYS. This volume contains the following
essays: No. 55

THE HUMOUR OP HOMER
QUIS DESIDERIO . . . ?
RAMBLINGS IN CHEAPSIDE
THE AUNT, THE NIECES, AND
THE DOG

HOW TO MACE THE BEST OF LIFE
THE SANCTUARY OF MONTRIGONE
A MEDIEVAL GIRLS’ SCHOOL
ART IN THE VALLEY OF SAAS
THOUGHT AND LANGUAGE

THE WAY OF ALL FLESH. A Novel No. 10

Tt drives one almost to despair of English Literature when one sees
so extraordinary a study of English life as Butler’s posthumous Way
of All Flesh making so little impression. Really, the English do not
deserve to have great men.’ george Bernard shaw

CANOT, Theodore

MEMOIRS OF A SLAVE TRADER. Set down by brantz

MAYER and now edited by A. w. LAWRENCE No. 126

In 1854 a cosmopolitan adventurer, who knew Africa at the worst
period of its history, dictated this sardonic account of piracy and
mutiny, of battles with warships or rival traders, and of the fantastic
lives of European and half-caste slavers on the West Coast.

CARDUS, Neville

DAYS IN THE SUN : A Cricketer’s Book No. iai

The author says ‘the intention of this book is modest—it should be
taken as a rather freely compiled journal of happy experiences which
have come my way on our cricket fields.*

CARLETON, Captain George

MILITARY MEMOIRS (1672-1713). Edited by A. w.

LAWRENCE No. 134

A cheerful sidelight on the war of the Spanish Succession, with a
remarkable literary history. Johnson praised the book, Scott edited
it, and then the critics declared it to be fiction and suggested Defoe or
Swift as the author $ now it has come into its own again as one of the
most vivid records of a soldier’s actual experiences.

CLEMENTS, Rex

A GIPSY OF THE HORN. Life in a deep-sea sailing ship No. 136
A true and spirited account of a phase of sea*life now passing, if not
passed, fascinating from the very vividness and sincerity of its telling.
Mr. Clements loves the sea, and he makes his readers love it.

13

COPPARD, A. E.

ADAM AND EVE AND PINCH ME. Stories No. 13

Mr. Coppard’s implicit theme is the closeness of the spiritual world
to the material; the strange, communicative sympathy which strikes
through two temperaments and suddenly makes them one.

CLORINDA WALKS IN HEAVEN. Stories No. n

‘Genius is a hard-ridden word, and has been put by critics at many
puny ditches, but Mr. Coppard sets up a fence worthy of its mettle.
He shows that in hands like his the English language is as alive as ever.*
Outlook

FISHMONGER’S FIDDLE. Stories No. 130

‘In definite colour and solid strength his work suggests that of the
old Dutch Masters. Mr. Coppard is a born story-teller.* Times
Literary Supplement

THE BLACK DOG. Stories No. 2

‘Mr. Coppard is a born story-teller. The book is filled with a variety
of delightful stuff: no one who is interested in good writing in general,
and good short stories in particular, should miss it.* Spectator

COYLE, Kathleen

7 /

LIV. A Novel. With an Introduction by rebecca west No. 87

'Li<v is a short novel, but more subtly suggesting beauty and movement
than many a longer book. . . . There is something cool and rare
about this story $ the reader finds himself turning back to re-read
pages that must not be forgotten.* Times Literary Supplement

DAVIES, Charles

SELECTIONS FROM SWIFT. With an introduction by

CHARLES DAVIES No . 171

Everybody knows Gulliver and The Tale of a Tub , but Swift’s minor
pieces are less accessible in a handy format. In this book a collection
of the more interesting will be found, exhibiting the Dean in familiar
and satiric mood even when preaching.

DAVIES, W. H

THE AUTOBIOGRAPHY OF A SUPER-TRAMP
With a Preface by c. Bernard shaw No. 3

The author tells us with inimitable quiet modesty of how he begged
and stole his way across America and through England and Wales until
his travelling days were cut short by losing his right foot while
attempting to ‘jump* a train.

14

DAVIES, W. H. *

LATER DAYS. A pendant to The Autobiography of a
Super-Tramp No. 48

‘The self-portrait is given with disarming, mysterious, and baffling
directness, and the writing has the same disarmingness and simpleness.’
Observer

A POET’S PILGRIMAGE No. 56

A Poet*s Pilgrimage recounts the author’s impressions of his native
Wales on his return after many years’ absence. He tells of a walking
tour during which he stayed in cheap rooms and ate in the small
wayside inns. The result is a vivid picture of the Welsh people, the
towns and countryside.

DELED DA, Grazia

THE MOTHER. A Novel. With an Introduction by

d. h. Lawrence. (Awarded the Nobel Prize 1928) No. 105

An unusual book, both in its story and its setting in a remote Sardinian
hill village, half civilised and superstitious. The action of the story
takes place so rapidly and the actual drama is so inter-woven with the
mental conflict, and all so forced by circumstances, that it is almost
Greek in its simple and inevitable tragedy.

DE MAUPASSANT

STORIES. Translated by Elizabeth martindale No. 37

‘His “story” engrosses the non-critical, it holds the critical too at the
first reading. . . . That is the real test of art, and it is because of the
inobtrusiveness of this workmanship, that for once the critic and the
reader may join hands without awaiting the verdict of posterity.’
From the Introduction by ford madox ford

DE SELINCOURT, Hugh

THE CRICKET MATCH. A Story No. 108

Through the medium of a cricket match the author endeavours to
give a glimpse of life in a Sussex village. First we have a bird’s-eye
view at dawn of the village nestling under the Downs ; then we see
the players awaken in all the widely different circumstances of their
various lives, pass the morning, assemble on the field, play their game,
united for a few hours, as men should be, by a common purpose—
and at night disperse.

*5

DIMNET, Ernest

THE ART OF THINKING No. 170

‘Concentration, “never reading but always studying,” dismissing
trivialities and only reading masterpieces, orderliness, taking notes,
avoiding laziness—it is with such aids to improving the mind that
M. Dimnet chiefly deals —and the point of his witty book is that he
makes such difficult operations seductive by the charm with which
he surrounds both the operations themselves and the results to which
they should lead.’ The Times Literary Supplement

DOS PASSOS, John

ORIENT EXPRESS. A book of travel No. 80

This book will be read because, as well as being the temperature chart
of an unfortunate sufferer from the travelling disease, it deals with
places shaken by the heavy footsteps of History. Underneath, the
book is an ode to railroad travel.

DOUGLAS, George

THE HOUSE WITH THE GREEN SHUTTERS
A novel. With an Introduction by j. b. priestley No. 118

This powerful and moving story of life in a small Scots burgh is
one of the grimmest studies of realism in all modern fiction. The
author flashes a cold and remorseless searchlight upon the back¬
bitings, jealousies, and intrigues of the townsfolk.

DU MAURIER, George

PETER IBBETSON. Illustrated by the author No. 169

This novel, written as an autobiography, reveals with a pathetic
charm the figure of Peter Ibbetson from boyhood. Some of the
scenes are English, but most of the story is in France, the early part
of it in Passy and Paris.

DUNSTERVILLE, Major-General L. C.

STALKY’S REMINISCENCES No. 145

‘The real Stalky, General Dunsterville, is so delightful a character
that the fictitious Stalky must at times feel jealous of him as a rival.
... In war he proved his genius in the Dunster Force adventure;
and in this book he shows that he possesses another kind of genius—
the genius of comic self-revelation and burbling anecdote.’ Observer
16

FARSON, Negley

SAILING ACROSS EUROPE. With an Introduction by

FRANK MORLBY No. Ill

A voyage of six months in a ship, its one and only cabin measuring
8 feet by 6 feet, up the Rhine, down the Danube, passing from one
to the other by the half-forgotten Ludwig’s Canal.

FAUSSET, Hugh I’Anson

TENNYSON. A critical study No. 124

Mr. Fausset’s study of Tennyson’s qualities as poet, man and moralist
is by implication a study of some of the predominant characteristics
of the Victorian age. His book, however, is as pictorial as it is critical,
being woven, to quote The Times , ‘like an arras of delicate colour and
imagery.’

FLAUBERT, Gustave

MADAME BOVARY. Translated by ELEANOR marx-

aveling. With an Introduction by hamish miles No. 144

*. . . It remains perpetually the novel of all novels which the criticism
of fiction cannot overlook; as soon as ever we speak of the principles
of the art we must be prepared to engage with Flaubert. There is no
such book as his B<yvary\ for it is a novel in which the subject stands
firm and clear, without the least shade of ambiguity to break the line
which bounds it.’ PERCY Lubbock in The Craft of Fiction

FORMAN, Henry James

GRECIAN ITALY. A book of Travel No. 29

‘It has been said that if you were shown Taormina in a vision you
would not believe it. If the reader has been in Grecian Italy before
he reads this book, the magic of its pages will revive old memories
and induce a severe attack of nostalgia.’ From the Preface by h.
FESTING JONES

FRASER, Ronald

THE FLYING DRAPER. A Novel No. 165

‘After its own prodigal fashion the book rises as high above the
general run of novels as Codders did above the other drapers of
Primrose Hill.’ Punch

‘This is one of the very best first novels which we have seen since the
War, and its author, if he can maintain the standard which he sets
here, should go far.’ Daily Mail

*7

GARNETT, Edward

FRIDAY NIGHTS. Critical Essays Nc. 119

‘Mr. Garnett is “the critic as artist/’ sensitive alike to elemental nature
and the subtlest human variations. His book sketches for us the
possible outlines of a new humanism, a fresh valuation of both life
and art.’ The Times

GARNETT, Mrs. R. S.

THE INFAMOUS JOHN FRIEND. A Novel. No. 53

This book, though in form an historical novel, claims to rank as a
psychological study. It is an attempt to depict a character which,
though destitute of the common virtues of everyday life, is gifted with
qualities that compel love and admiration.

GAUGIN, Paul

THE INTIMATE JOURNALS. Translated by van

WYCK BROOKS No. IOI

The confessions of genius are usually startling; and Gaugin’s
Journals are no exception. He exults in his power to give free rein
to his savage spirit, tearing the shawl from convention’s shoulders with
a gesture as unscrupulous as it is Rabelaisian.

GIBBS, J. Arthur

A COTSWOLD VILLAGE No. 138

‘For pure observation of people, places and sports, occupations and
wild life, the book is admirable. Everything is put down freshly from
the notebook, and has not gone through any deadening process
of being written up.’ Morning Post

GOBINEAU, Le Comte de

THE CRIMSON HANDKERCHIEF AND OTHER
STORIES. Translated from the French by henry
LONGAN STUART No. 137

The three stories included in this volume mark the flood tide of Comte
de Gobineau’s unique and long-neglected genius. Not even Nietzsche
has surpassed him in a love of heroic characters and unfettered wills—
or in his contempt for bourgeois virtues and vices.

GOSSE, Sir Edmund

SELECTED ESSAYS. First Series No. 73

‘The prose of Sir Edmund Gosse is colour of as rich in the young
imagination as in the mellow harmony of judgment. Sir Edmund
Gosse’s literary kit-kats will continue to be read with avidity long
after the greater part of the academic criticism of the century is
swept away upon the lumber-heap.’ Daily Telegraph
18

GOSSE, Sir Edmund

SELECTED ESSAYS. Second Sena No. Si

A second volume of essays personally chosen by Sir Edmund Gosse
from the wide field of his literary work. One is delighted with the
width of his appreciation which enables him to write with equal
charm on Wycherley and on Hw to Read the Bible.

GRAHAM, Stephen

A PRIVATE IN THE GUARDS No. 89

In his own experiences as a soldier Stephen Graham has conserved the
half-forgotten emotions of a nation in arms. Above all, he makes us
feel the stark brutality and horror of actual war, the valour which is
more than valour.

HAMILTON, Mary Agnes

THOMAS CARLYLE No. 1 57

Although not a formal biography, being more concerned with the
mind of the man, as revealed in his writing, than with the external
incidents of his life, it sets both Carlyle and Jane Welsh before the
reader in an outline that is alive and challenging.

HASTINGS, A. C. G.

NIGERIAN DAYS. With an Introduction by R. B.

CUNNING HAM E GRAHAM No. 151

Written with great sincerity and with equal modesty, it is the record
of eighteen long years spent on the confines of the Empire, a book
devoid of bombast, and without the cheap expression of opinion of
the average globe-trotter.

HEARN, Lafcadio

GLEANINGS IN BUDDHA-FIELDS No. 42

A book which is readable from the first page to the last, and is full
of suggestive thought, the essays on Japanese religious belief calling
for special praise for the earnest spirit in which the subject is
approached.

GLIMPSES OF UNFAMILIAR JAPAN. First Series No. 57
Most books written about Japan have been superficial sketches of
a passing traveller. Of the inner life of the Japanese we know prac¬
tically nothing. Lafcadio Hearn reveals something of the people and
their customs as they are.

*9

HEARN, Lafcadio

GLIMPSES OF UNFAMILIAR JAPAN. Second Series No. j8
Sketches by an acute observer and a master of English prose, of a
Nation in transition—of the lingering remains of Old Japan, to-day
only a memory, of its gardens, its beliefs, customs, gods and devils,
of its wonderful kindliness and charm—and of the New Japan,
struggling against odds towards new ideals.

KWAIDAN. Stories No. 44

The marvellous tales which Mr. Hearn has told in this volume
illustrate the wonder-living tendency of the Japanese. The stories are
of goblins, fairies and sprites, with here and there an adventure into
the field of unveiled supernaturalism.

OUT OF THE EAST No. 43

Mr. Hearn has written many books about Japan; he is saturated with
the essence of its beauty, and in this book the light and colour and
movement of that land drips from his pen in every delicately conceived
and finely written sentence.

KOKORO No. 172

The heart, the inner meaning—that is the meaning of the Japanese
word of the title. And it is the heart and inner meaning of Japan that
Lafcadio Hearn recorded in the clear, musical prose of his essays.

HEMINGWAY, Ernest. Author of A Farewell to Arms

MEN WITHOUT WOMEN. Stories No. 159

‘Mr. Hemingway has the art of making what he describes take place
before our eyes, as if we saw it upon the stage. Brilliant is not a brilliant
enough word for it.’ Daily News

HEYWARD, Du Bose

PORGY. A Tale No. 85

This fascinating book gives a vivid and intimate insight into the lives
of a group of American negroes, from whom Porgy stands out, rich
in humour and tragedy.

HILDEBRAND, Arthur Sturges

BLUE WATER. The story of an ocean voyage. With an

Introductory Memoir by HARRISON smith No. 36

This book gives the real feeling of life on a small cruising yacht; the
nights on deck with the sails against the sky, long fights with head
winds by mountainous coasts to safety in forlorn little island ports, and
constant adventure free from care.

20

HINDUS, Maurice

BROKEN EARTH No. 174

This is a very human book. It deals with one of the most exciting
periods in the history of the Russian village—a period of universal
heart-searching with peasants as ever giving free vent to their thoughts
and troubles. Like Red Bread, the scene of Broken Earth is laid in
the author’s native village.

HOULT, Norah

POOR WOMEN No. 168

‘I know of nothing written in late years with which to compare them.
They are the unique manifestations which genius always gives us.
Norah Hoult’s gift for narrative is the right magic for story telling.*
H. M. TOMLINSON

HOUSMAN, Laurence

ANGELS AND MINISTERS, AND OTHER PLAYS.

Imaginary portraits of political characters done in dialogue
— Queen Victoria, Disraeli, Gladstone, Parnell, Joseph
Chamberlain and Woodrow Wilson No. 17

‘It is all so good that one is tempted to congratulate Mr. Housman
on a true masterpiece.’ Times

HUDDLESTON, Sisley

FRANCE AND THE FRENCH. A study No. 86

‘His book is a repository of facts marshalled with judgment; as such
it should assist in clearing away a whole maze of misconceptions and
prejudices, and serve as a sort of pocket encyclopaedia of modern
France.’ Times Literary Supplement

HUDSON, W. H.

MEN, BOOKS AND BIRDS : Letters to a Friend. With
Notes, some Letters, and an Introduction by morley
ROBERTS No. 112

An important collection of letters from the naturalist to his friend,
literary executor and fellow author, Morley Roberts, covering a period
of twenty-five years.

JEWETT, Sarah Orne

THE COUNTRY OF THE POINTED FIRS. Stories No. 28
‘The young student of American literature in the far distant future
will take up this book and say “a masterpiece!” as proudly as if he
had made it. It will be a message in a universal language—the one
message that even the scythe of Time spares.* From the Preface by

WILLA CATHER

2X

JOHNSON, Samuel

A JOURNEY TO THE WESTERN ISLANDS OF
SCOTLAND. With a Foreword by d. l. Murray No. 162

‘To Scotland however he ventured j and he returned from it in great
good humour, with his prejudices much lessened, and with very
grateful feelings of the hospitality with which he was treated ; as is
evident from that admirable work his Journey to the Western Islands of
Scotland* boswell

JONES, Henry Festing

DIVERSIONS IN SICILY. Travel impressions No. 120

Shortly before his death, Mr. Festing Jones chose out Diversions in
Sicily for reprinting from among his three books of mainly Sicilian
sketches and studies. These chapters, as well as any that he wrote,
recapture the wisdom, charm and humour of their author.

JOYCE, James

DUBLINERS. A volume of Stories No. 14

A collection of fifteen short stories by the author of Ulysses. They
are all of them brave, relentless and sympathetic pictures of Dublin
life ; realistic, perhaps, but not crude ; analytical, but not repugnant.

A PORTRAIT OF THE ARTIST AS A YOUNG MAN
A novel No. 155

‘It is a book to buy and read. Its claim to be literature is as good as
the claim of the last book of Gulliver s Travels. It is by far the most
living and convincing picture that exists of an Irish Catholic up¬
bringing. The technique is startling. ... A most memorable
novel. H. G. WELLS

KALLAS, Aino

THE WHITE SHIP. Stories. With an Introduction by

JOHN GALSWORTHY No. 24

‘The writer has an extraordinary sense of atmosphere.* Times Literar
Supplement

‘Stories told convincingly and well, with a keen perception for natural
beauty.' Nation

KOMROFF, Manuel

CONTEMPORARIES OF MARCO POLO No. 123

This volume comprises the Travel Records in the Eastern parts of
the world of William of Rubruck (1253-5), the Journey of John of
Pian de Carpini (1245-7), the Journey of Friar Odoric (1318-30).
They describe the marvels and wonders of Asia under the Khans.

22

KOMROFF, Manuel

THE TRAVELS OF MARCO POLO No. 59

When Marco Polo arrived at the court of the Great Khan, Pekin had
just been rebuilt. Kublai Khan was at the height of his glory. Polo
rose rapidly in favour and became governor of an important district.
In this way he gained first-hand knowledge of a great civilisation and
described it with astounding accuracy and detail.

LAWRENCE, A. W., edited by

CAPTIVES OF TIPU. Survivors’ Narratives No. 125

In addition to the well-known stories of Bristow and Scurry, a soldier
and a seaman, who were forcibly Mohammedanised and retained in the
service of Mysore till their escape after ten years, extracts are given from
an officer’s diary of his close imprisonment at Seringapatam.

THE WRECK OF THE MEDUSA. The Narratives of

Dard, Corr^ard and Savigny No. 163

In 1816 a French warship ran aground upon an African reef. There
was no immediate danger, yet mismanagement and aimless panic
developed a series of savageries perhaps unequalled in men of this
civilisation. After the desertion of comrades and the wanton destruc¬
tion of food and drink, follow suicide, murder and cannibalism, mutiny
and calculated massacre, on a half-submerged and broken raft.

LAWRENCE, D. H.

TWILIGHT IN ITALY. Travel essays No. 19

This volume of travel vignettes in North Italy was first published in
1916. In Tvoilight in Italy will be found all the freshness and vigour
of outlook which made the author a force in literature.

LAWSON, Henry

WHILE THE BILLY BOILS. First Series No. 38

These stories are written by the O. Henry of Australia. They tell of
men and dogs, of cities and plains, of gullies and ridges, of sorrow
and happiness, and of the fundamental goodness that is hidden in the
most unpromising of human soil.

WHILE THE BILLY BOILS. Second Series No. 39

Mr. Lawson has the uncanny knack of making the people he writes
about almost violently alive. Whether he tells of jackeroos, bush
children or drovers’ wives, each one lingers in the memory long after
we have closed the book.

23

LESLIE, Shane

THE END OF A CHAPTER No. no

In this, his most famous book, Mr. Shane Leslie has preserved for
future generations the essence of the pre-war epoch, its institutions and
individuals. He writes of Eton, of the Empire, of Post-Victorianism,
of the Politicians. . . . And whatever he touches upon, he brilliantly
interprets.

LITHGOW, William

RARE ADVENTURES AND PAINEFULL PERE¬
GRINATIONS (1582-1645). Edited and with Introduc¬
tion by B. I. LAWRENCE No. 109

This is the book of a seventeenth-century Scotchman who walked
over the Levant, North Africa and most of Europe, including Spain,
where he was tortured by the Inquisition. An unscrupulous man,
full of curiosity, his comments are diverting and penetrating, his
adventures remarkable.

LUBBOCK, Percy

EARLHAM. A portrait No. 6

‘The book seems too intimate to be reviewed. We want to be allowed
to read it, and to dream over it, and keep silenoe about it. His judg¬
ment is perfect, his humour is true and ready ; his touch light and
prim j his prose is exact and clean and full of music.* Times

ROMAN PICTURES. Studies No. 21

Pictures of life as it is lived —or has been or might be lived—among
the pilgrims and colonists in Rome of more or less English speech.
‘A book of whimsical originality and exquisite workmanship, and
worthy of one of the best prose writers of our time.* Sunday Times

THE CRAFT OF FICTION. Critical essays No. 5

*No more substantial or more charming volume of criticism has been
published in our time.’ Observer

4 To say that this is the best book on the subject is probably true j
but it is more to the point to say that it is the only one.* Times Literary
Supplement

LYND, Robert

BOOKS AND AUTHORS. Critical essays No. 135

Among the modern writers we have appreciations of Mr. Max
Beerbohm, Mr. Arnold Bennett and Mr. H. M. Tomlinson, while
Herrick, Keats, Charles Lamb and Hawthorne are a few of the classical
writers who are criticised in the book.

MACDONALD, The Rt. Hon. J. Ramsay

WANDERINGS AND EXCURSIONS. Essays No . 132

Mr. Ramsay MacDonald has been a wide traveller and reader, and
has an uncommon power of bringing an individual eye—the eye of
the artist —to bear upon whatever he sees.

MACHEN, Arthur

DOG AND DUCK. Essays No. 15

‘As a literary artist, Mr. Arthur Machen has few living equals, and
that is very far indeed from being his only, or even his greatest, claim
on the suffrages of English readers.* Sunday Times

MASEFIELD, John

CAPTAIN MARGARET. A Novel No. 35

‘His style is crisp, curt and vigorous. He has the Stevensonian sea-
swagger, the Stevensonian sense of beauty and poetic spirit. Mr.
Masefield’s descriptions ring true and his characters carry conviction.*
The Observer

MASON, Arthur

THE FLYING BO’SUN. A Tale No. 47

‘What makes the book remarkable is the imaginative power which
has re-created these events so vividly that even the supernatural ones
come with the shock and the conviction with which actual super¬
natural events might come.* From the Introduction by Edwin muir

WIDE SEAS AND MANY LANDS. Reminiscences.

With an Introduction by Maurice baring No. 7

‘This is an extremely entertaining, and at the same time moving, book.
We are in the presence of a born writer. We read with the same
mixture of amazement and delight that fills us throughout a Conrad
novel.* New Statesman

MAUGHAM, W. Somerset

LIZA OF LAMBETH. A Tale No. 141

Liza of Lambeth is Mr. Somerset Maugham’s first novel, and its
publication decided the whole course of his life. For if it had not
succeeded its author could not have turned from medicine to letters.
The story reflects much of the experience which Mr. Maugham
gathered when he worked in the slums of the East End as a doctor.

*5

MAUGHAM, W. Somerset

ON A CHINESE SCREEN. Sketch** No. 31

A collection of sketches of life in China. Mr. Somerset Maugham
writes with equal certainty and vigour whether his characters are
Chinese or European.

THE CASUARINA TREE. Stories No. 9 a

Intensely dramatic stories in which the stain of the East falls deeply
on the lives of English men and women. On passion and its culmina¬
ting tragedy he looks with unmoved detachment, ringing the changes
without comment and yet with little cynicism.

THE MOON AND SIXPENCE. A Novel No. 91

‘Mr. Maugham has given us a ruthless and penetrating study in
personality with a savage truthfulness of delineation and an icy con¬
tempt for the heroic and the sentimental.’ The Times

MENCKEN, H. L.

IN DEFENCE OF WOMEN No. 50

‘All I design by the book is to set down in more or lew plain form
certain ideas that practically every civilised man and woman hold
in petto , but that have been concealed hitherto by the vast mass of
sentimentalities swathing the whole woman question.’ From the
Author s Introduction

SELECTED PREJUDICES. First Series. A Book of
Essays No. 8

‘He is exactly the kind of man we are needing, an iconoclast, a scoffer
at ideals, a critic with whips and scorpions who does not hesitate to
deal with literary, social and political humbugs in the one slashing
fashion/ English Review

SELECTED PREJUDICES. Second Series No. 60

‘What a master of the straight left in appreciation! Everybody who
wishes to see how common sense about books and authors can be
made exhilarating should acquire this delightful book/ Morning Post

MEREZHKOVSKY, Dmitri

DECEMBER THE FOURTEENTH. A Novel. Trans¬
lated from the Russian by Natalie duddington. With an
Introduction by mart agnes Hamilton No. 156

‘It lives on its own account, and is as wildly exciting as the story of
a conspiracy can be, but it has certain universal qualities. It becomes
as you read, not simply an historically accurate picture of a
particular revolt, but a picture of all resistance to all tyrants through¬
out the ages/ david garnett
26

MEYNELL, Alice

WAYFARING. Essays No. 133

‘Her essays have the merit of saying just enough of the subject, and
they can be read repeatedly. The surprise coming from that combined
grace of manner and sanity of thought is like one’s dream of what the
recognition of a new truth would be.’ Some of the essays so described
by GEORGE Meredith are here collected in book form for the first time.

MILES, Hamish

SELECTIONS FROM BYRON. Poetry and Prose No. 154

Byron’s poetry, the core of his legend and so often the mirror of his
life, is too often left unread. This selection, which includes some
examples of his prose, is designed to show not only how his verse
reflects the drama of Byron’s own life, but also how brilliantly Byron
diagnosed the evils of the post-war era in which his stirring life was
spent.

MITCHISON, Naomi

CLOUD CUCKOO LAND. A Novel of Sparta No. 88

‘Rich and frank in passions, and rich, too, in the detail which helps
to make feigned life seem real.’ Times Literary Supplement

THE CONQUERED. A story of the Gauls under Caesar No. 45
‘With The Conquered Mrs. Mitchison establishes herself as the best, if
not the only, English historical novelist now writing. It seems to me
in many respects the most attractive and poignant historical novel I
have ever read.* New Statesman

WHEN THE BOUGH BREAKS. Stories of the time when
Rome was crumbling to ruin No. 46

‘Interesting, delightful and fresh as morning dew. The connoisseur
in short stories will turn to some pages in this volume again and again
with renewed relish.* Times Literary Supplement

BLACK SPARTA. Stories of Sparta and Athens No. 158

‘Her touch is sure, her description admirable. The reader gets a whiff
of crushed thyme and of dew on dust as the author tells of Pindar’s
poetic adventure into Thessaly.’ Times
27

MONTAGU, Lady Mary Wortley

THE TRAVEL LETTERS OF LADY MARY
WORTLEY MONTAGU. Edited by a. w. Lawrence No. 143
In the words of Tobias smollett : ‘These Letters will show, as long
as the English language endures, the sprightliness of her wit, the
solidity of her judgment, the elegance of her taste, and the excellence
of her real character. They are so bewitchingly entertaining, that
we defy the most phlegmatic man on earth to read one without going
through with them.*

MOORE, George

CONFESSIONS OF A YOUNG MAN No. 76

‘Mr. Moore, true to his period and to his genius, stripped himself of
everything that might stand between him and the achievement of his
artistic object. He does not ask you to admire this George Moore.
He merely asks you to observe him beyond good and evil as a constant
plucked from the bewildering flow of eternity.* Humbert wolfe

MORLEY, Christopher

SAFETY PINS. Essays. With an Introduction by H. M.

TOMLINSON No. 98

Mr. Morley is an author who is content to move among his fellows,
to note, to reflect, and to write genially and urbanely j to love words
for their sound as well as for their value in expression of thought.

THUNDER ON THE LEFT. A Novel No. 90

‘It is personal to every reader, it will become for every one a reflection
of himself. I fancy that here, as always where work is fine and true,
the author has created something not as he would but as he must,
and is here an interpreter of a world more wonderful than he himself
knows.* HUGH WALPOLE

WHERE THE BLUE BEGINS. A Fantasy No. 74

‘Mr. Morley is a master of consequent inconsequence. His humour
and irony are excellent, and his satire is only the more salient for the
delicate and ingenuous fantasy in which it is set.* Manchester Guardian

MURRAY, D. L.

CANDLES AND CRINOLINES. Essays No. 149

Mr. Murray’s sub-acid Tory satisfaction enlivens the historical
essays, his sanity and penetration make memorable the books he dis¬
cusses, while the unfailing charm of his style suffuses the reader of his
miscellaneous pieces with mood and sentiment such as might be
evolved from the glow of candles upon crinolines.

28

MURRAY, Max

THE WORLD’S BACK DOORS. Adventures. With
an Introduction by hector bolitho No. 61

His journey round the world was begun with about enough money to
buy one meal, and continued for 66,000 miles. There are periods as a
longshoreman and as a sailor, and a Chinese guard and a night
watchman, and as a hobo.

MURRY, J. Middleton

THE EVOLUTION OF AN INTELLECTUAL No. 62

These essays were written during and immediately after the Great
War. The author says that they record the painful stages by which
he passed from the so-called intellectual state to the state of being
what he now considers to be a reasonable man.

DISCOVERIES No. 152

These essays are an attempt to make plain some of the underlying
motives of great literature. Shakespeare holds the chief place in the
book. In the essays on Tchehov and Russian Literature j on Herman
Melville and American Poetry ; on Marcel Proust— the same funda¬
mental pre-occupation, to discover la vraie vie, is shown at work.

NICHOLS, Beverley

TWENTY-FIVE. An Autobiography No. 147

‘I have read every word of it. It has life and good nature. It is full
of fun—written with an easy, vivid English.’ somerset MAUGHAM
in The Sunday Times

O’FLAHERTY, Liam

SPRING SOWING. Stories No. 26

‘Nothing seems to escape Mr. O’Flaherty’s eye ; his brain turns all
things to drama j and his vocabulary is like a river in spate. Spring
Sowing is a book to buy, or to borrow, or, yes, to steal.’ Bookman

THE BLACK SOUL. A Novel No. 99

'The Black Soul overwhelms one like a storm. . . . Nothing like it has
been written by any Irish writer.* *M* in The Irish Statesman

THE INFORMER. A Novel No. 128

This realistic novel of the Dublin underworld is generally conceded
to be Mr. O’Flaherty’s most outstanding book. It is to be produced
as a film by British International Pictures, who regard it as one of the
most ambitious of their efforts.

29

O’NEILL, Eugene

THE MOON OF THE CARIBBEES, AND OTHER
PLAYS OF THE SEA. With an Introduction by ST.

JOHN ERVINE No. Il 6

‘Mr. O’Niell is immeasurably the most interesting man of letters that
America has produced since the death of Walt Whitman.* From the
Introduction

O’SHAUGHNESSY, Edith

VIENNESE MEDLEY. A Novel No. 51

‘It is told with infinite tenderness, with many touches of grave or
poignant humour, in a very beautiful book, which no lover of fiction
should allow to pass unread. A book which sets its writer definitely
in the first rank of living English novelists.’ Sunday Times

PATER, Walter

MARIUS THE EPICUREAN No. 23

Walter Pater was at the same time a scholar of wide sympathies and
a master of the English language. He describes with rare delicacy of
feeling and insight the religious and philosophic tendencies of the
Roman Empire at the time of Antoninus Pius as they affected the mind
and life of the story’s hero.

THE RENAISSANCE No. 63

This English classic contains studies of those ‘supreme artists’ Michel¬
angelo and Da Vinci, and of Botticelli, Della Robia, Mirandola, and
others, who ‘have a distinct faculty of their own by which they convey
to us a peculiar quality of pleasure which we cannot get elsewhere.’

PICKTHALL, Marmaduke

ORIENTAL ENCOUNTERS No. 103

In Oriental Encounters , Mr. Pickthall relives his earlier manhood’s
discovery of Arabia and sympathetic encounters with the Eastern
mind. He is one of the few travellers who really bridges the racial gulf.

POWELL, Sydney Walter

THE ADVENTURES OF A WANDERER No. 64

Throwing up a position in the Civil Service in Natal because he pre¬
ferred movement and freedom to monotony and security, the author
started his wanderings by enlisting in an Indian Ambulance Corps in
the South African AVar. Afterwards he wandered all over the world.

30

POWYS, Llewelyn

BLACK LAUGHTER No. iv)

Black Laughter is a kind of Robinson Crusoe of the continent of Africa.
You actually share the sensations of a sensitive and artistic nature
suddenly transplanted from a peaceful English village into the heart
of Africa.

RANSOME, Arthur

‘RACUNDRA’S* FIRST CRUISE No. 65

‘His experiences and adventures in fair and dirty weather, the places he
visited, the primitive life of the Esthonian islanders, some extra¬
ordinarily beautiful anecdotes, and the charm and humour of Mr.
Ransome’s writing, form a book of which there is little more to be said
than that it is delightful—a pleasure to read from beginning to end.*
The Spectator

READE, Winwood

THE MARTYRDOM OF MAN No. 66

‘Few sketches of universal history by one single author have been
written. One book that has influenced me very strongly is The
Martyrdom of Man. This “dates,” as people say nowadays, and it has
a fine gloom of its own j but it is still an extraordinarily inspiring
presentation of human history as one consistent process.* H. G. wells
in An Outline of History

REYNOLDS, Stephen

A POOR MAN’S HOUSE No. 93

Vivid and intimate pictures of a Devonshire fisherman’s life. ‘Com¬
pact, harmonious, without a single—I won’t say false—but uncertain
note, true in aim, sentiment and expression, precise and imaginative,
never precious, but containing here and there an absolutely priceless
phrase. . . .* Joseph conrad

RIESENBERG, Felix

SHIPMATES. Sea-faring portraits No. 107

A collection of intimate character portraits of men with whom the
author has sailed on many voyages. The sequence of studies
blends into a fascinating panorama of living characters.

3i

ROBERTS, Captain George

A SERIES OF UNCOMMON EVENTS No. 40

The Manner of his being taken by Three Pyrate Ships which, after
having plundered him, and detained him 10 Days, put him aboard
his own Sloop, without Provisions, Water, etc.

The Hardships he endur’d for above 20 Days, ‘till he arriv’d at the
Island of St. Nicholas, from whence he was blown off to Sea ; and
after Four Days of Difficulty and Distress, was Shipwreck’d on the
Unfrequented Island of St. John.

ROBINSON, James Harvey

THE MIND IN THE MAKING. An Essay No. 9

‘For me, I think James Harvey Robinson is going to be almost as
important as was Huxley in my adolescence, and William James in
later years. It is a cardinal book. I question whether in the long run
people may not come to it, as making a new initiative into the world’s
thought and methods.’ From the Introduction by H. c. WELLS

ROSEBERY, The Earl of

NAPOLEON : THE LAST PHASE No. 96

Of books and memoirs about Napoleon there is indeed no end, but
of the veracious books such as this there are remarkably few. It aims
to penetrate the deliberate darkness which surrounds the last act of the
Napoleonic drama.

RUTHERFORD, Mark

THE AUTOBIOGRAPHY OF MARK RUTHERFORD.

With an Introduction by h. w. massingham No. 67

Because of its honesty, delicacy and simplicity of portraiture, this book
has always had a curious grip upon the affections of its readers. An
English Amiel, inheriting to his comfort an English Old Crome
landscape, he freed and strengthened his own spirit as he will his
reader’s.

THE DELIVERANCE No. 68

Once read, Hale White [Mark Rutherford] is never forgotten. But
he is not yet approached through the highways of English letters. To
the lover of his work, nothing can be more attractive than the pure and
serene atmosphere of thought in which his art moves.

THE REVOLUTION IN TANNER’S LANE No. 69

‘Since Bunyan, English Puritanism has produced one imaginative
genius of the highest order. To my mind, our fiction contains no
more perfectly drawn pictures of English life in its recurring emotional
contrast of excitement and repose more valuable to the historian, or
more stimulating to the imaginative reader.* h. w. massingham

3 *

SHELVOCKE, Captain George

A PRIVATEER’S VOYAGE ROUND THE WORLD.

With aspersions upon him by william betagh. Edited by
A. W. LAWRENCE No. 14a

A book of 1726, well known as the source of the albatross incident
and other passages in the ‘Ancient Mariner’; it describes the exploits
of a private ship of war on the coasts of South America, its wreck on
the Crusoe island off Juan Fernandez, and the subsequent adventure*
of its company in various parts of the Pacific.

SITWELL, Constance

FLOWERS AND ELEPHANTS. With an Introduction

by E. M. FORSTER No. 115

Mrs. Sitwell has known India well, and has filled her pages with
many vivid little pictures, and with sounds and scents. But it is the
thread on which her impressions are strung that is so fascinating, a
thread so delicate and rare that the slightest clumsiness in definition
would snap it.

SMITH, Pauline

THE BEADLE. A Novel of South Africa No. 129

‘A story of great beauty, and told with simplicity and tenderness
that makes it linger in the memory. It is a notable contribution to the
literature of the day.* Morning Post

THE LITTLE KAROO. Stories of South Africa. With

an Introduction by Arnold bennett No. 104

‘Nothing like this has been written about South African life since
Olive Schreiner and her Story of an African Farm took the literary
world by storm.’ The Daily Telegraph

SQUIRE, J. C.

THE GRUB STREET NIGHTS ENTERTAINMENTS No. 102
Stories of literary life, told with a breath of fantasy and gaily ironic
humour. Each character lives, and is the more lively for its touch of
caricature.

SULLIVAN, J. W. N.

ASPECTS OF SCIENCE. First Series No. 70

Although they deal with different aspects of various scientific ideas,
the papers which make up this volume do illustrate, more or less, one
point of view. This book tries to show one or two of the many reasons
why science may be interesting for people who are not specialists as
well as for those who are.

33

SYMONS, Arthur

PLAYS, ACTING AND MUSIC No. 1x3

This book deals mainly with music and with the various arts of the
stage. Mr. Arthur Symons shows how each art has its own laws, its
own limits ; these it is the business of the critic jealously to distinguish.
Yet in the study of art as art it should be his endeavour to master the
universal science of beauty.

WILLIAM BLAKE. A critical study No. 94

When Blake spoke the first word of the nineteenth century there was
none to hear it; and now that his message has penetrated the world,
and is slowly remaking it, few are conscious of the man who first
voiced it. This lack of knowledge is remedied in Mr. Symons's work.

TCHEKOFF, Anton

TWO PLAYS: The Cherry Orchard and The Sea Gull.

Translated by george calderon No. 33

Tchekoff had that fine comedic spirit which relishes the incongruity
between the actual disorder of the world with the underlying order.
He habitually mingled tragedy (which is life seen close at hand) with
comedy (which is life seen at a distance). His plays are tragedies with
the texture of comedy.

THOMAS, Edward

A LITERARY PILGRIM IN ENGLAND No. 95

A book about the homes and resorts of English writers, from John
Aubrey, Cowper, Gilbert White, Cobbett, Wordsworth, Burns,
Borrow and Lamb, to Swinburne, Stevenson, Meredith, W. H.
Hudson and H. Belloc.

THE POCKET BOOK OF POEMS AND SONGS FOR
THE OPEN AIR No. 97

This anthology is meant to please those lovers of poetry and the country
who like a book that can always lighten some of their burdens or give
wings to their delight, whether in the open air by day, or under the
roof at evening } in it is gathered much of the finest English poetry.

TURGENEV, Ivan

FATHERS AND CHILDREN. Translated by Constance

GARNETT No. 83

‘As a piece of art Fathers and Children is the most powerful of all
Turgenev’s works. The figure of Bazarov is not only the political
centre of the book, but a figure in which the eternal tragedy of man’s
impotence and insignificance is realised in scenes of a most ironical
human drama/ EDWARD GARNETT

34

TURGENEV, Ivan

ON THE EVE. Translated by Constance garnett No. 82

On the Eve is a quiet work, yet over which the growing consciousness
of coming events casts its heavy shadow. Turgenev, even as he sketched
the ripening love of a young girl, has made us feel the dawning aspira
tions of a nation.

SMOKE. Translated by Constance garnett No. 84

In this novel Turgenev sees and reflects, even in the shifting phases
of political life, that which is universal in human nature. His work
is compassionate, beautiful, unique ; in the sight of his fellow-crafts¬
men always marvellous and often perfect.

VERGA, Giovanni

MASTRO-DON GESUALDO. A Novel. Translated by

D. H. LAWRENCE No. 71

Verga, who died in 1922, is recognised as one of the greatest of Italian
writers of fiction. ‘It is a fine full tale, a fine full picture of life, with a
bold beauty of its own which Mr. Lawrence must have relished greatly
as he translated it.’ Observer

CAVALLERIA RUSTICANA No. 173

Giovanni Verga, a Sicilian, died in 1922. His work is of the blood
and salt of Sicily. Practically all serious Italian critics regard Verga
as the greatest of Italian writers of fiction with the single exception of
Manzoni. As far as style goes, Verga aims to be unliterary, to be close
to the spoken language of his characters. The story is the original
upon which Mascagni’s opera was written.

VOIGT, F. A.

COMBED OUT No. 122

This account of life in the army in 1917-18, both at home and in
France, is written with a telling incisiveness. The author does not
indulge in an unnecessary word, but packs in just the right details
with an intensity of feeling that is infectious.

WATERS, W. G.

TRAVELLER’S JOY. An Anthology No. 106

This anthology has been selected for publication in the Travellers’
Library from among the many collections of verse because of its
suitability for the traveller, particularly the summer and autumn
traveller, who would like to carry with him some store of literary
provender.

35

WELLS, H. G.

CHRISTINA ALBERTA’S FATHER. A Novel No. ioo

‘At first reading the book is utterly beyond criticism $ all the charac¬
ters are delightfully genuine.* Spectator

‘Brimming over with Wellsian insight, humour and invention. No
one but Mr. Wells could have written the whole book and given
such a verve and sparkle.’ Westminster Gazette

THE DREAM. A Novel No. 2 o

‘It is the richest, most generous and absorbing thing that Mr. Wells
has given us for years and years.’ Daily News

‘I find this book as close to being magnificent as any book that I have
ever read. It is full of inspiration and life.* Daily Graphic

WHARTON, Edith

IN MOROCCO No. 41

Morocco is a land of mists and mysteries, of trailing silver veils through
which minarets, mighty towers, hot palm groves and Atlas snows
peer and disappear at the will of the Atlantic cloud-drifts.

ITALIAN BACKGROUNDS No. 1 14

Mrs. Wharton’s perception of beauty and her grace of writing are
matters of general acceptance. Her book gives us pictures of moun¬
tains and rivers, monks, nuns and saints.

WITHERS, Percy

FRIENDS IN SOLITUDE. With an Introduction by

LASCELLES ABERCROMBIE No. 131

Percy Withers, who lived for many years in the Lake Country, selects
certain of the dale folk to tell in their own fashion so much the manner
of men they are, so much of their life-story, of its prosperities, en¬
durances, pathos, as may make the picture of his own experience more
complete and give to it a more human significance.

ZANGWILL, Israel

THE KING OF SCHNORRERS No. 164

Humour of a rich and active character pervades the delightful history
of Menhasseh, the magnificently autocratic king of Schnorrers, or
Jewish beggars, who dressed in his dirty rags, was as haughty in
demanding charity as in accepting it.

36

THE NOVELS OF RADCLYFFE HALL, uniform edition.
Small cr. 8vo. Black cloth, fully gilt. 5s. net a volume.

THE UNLIT LAMP
ADAM’S BREED

THE NOVELS OF SINCLAIR LEWIS, Nobel Prize edition.
Mr. Sinclair Lewis was awarded the Nobel Prize for literature
in 1930. Uniform edition. Small cr. 8vo. Red cloth, fully gilt.
5s. net a volume.

BABBITT

THE JOB

MAIN STREET

OUR MR. WRENN

MARTIN ARROWSMITH

FREE AIR

DODSWORTH

ELMER GANTRY

THE TRAIL OF THE HAWK

THE COLLECTED WORKS OF MARY WEBB, uniform
edition. Small cr. 8vo. Green cloth, fully gilt. 5s. net a volume.

GONE TO EARTH. With an Introduction by John buchan
SEVEN FOR A SECRET. With an Introduction by ROBERT lynd
PRECIOUS BANE. With an Introduction by the rt. hon. Stanley

BALDWIN

THE GOLDEN ARROW. With an Introduction by c. K. Chesterton
THE HOUSE IN DORMER FOREST. With an Introduction by

the REV. h. R. L. SHEPPARD

POEMS AND THE SPRING OF JOY. With an Introduction by

WALTER DE LA MARE

ARMOUR WHEREIN HE TRUSTED. A Collection of her short
stories, including the unfinished novel upon which she was working at
the time of her death. With an introduction by martin Armstrong

37

THE NOVELS OF MISS E. H. YOUNG, uniform edition.

Small cr. 8vo. Blue cloth,-fully gilt. 5s. net a volume.

WILLIAM

THE MISSES MALLET

YONDER

THE VICAR’S DAUGHTER

MOOR FIRES

MISS MOLE.

THE PLAYS OF EUGENE O’NEILL, uniform edition.

Blue cloth, gilt. Cr. 8vo. 7s. 6d. net a volume.

THE EMPEROR JONES: and other Plays. The Emperor Jones , The
Straw, and Diff'rent.

THE MOON OF THE CARIBBEES: and other Plays of the Sea.
The Moon of the Caribbees, Bound East for Cardiff \ The Long Voyage
Home, In the Zone, lie, Where the Cross is Made , and The Rope. With
an Introduction by st. John ervine.

THE HAIRY APE: and other Plays. The Hairy Ape , Anna Christie ,
The First Man.

BEYOND THE HORIZON. Two plays. Beyond the Horizon and Gold.

ALL GOD’S CHILLUN GOT WINGS. Three Plays. Including,
Desire Under the Elms and Welded.

THE GREAT GOD BROWN: and other Plays. The Great God Brvwn,
The Fountain, Before Breakfast and The Dreamy Kid.

STRANGE INTERLUDE. A Play in Nine Acts.

LAZARUS LAUGHED and DYNAMO

MARCO MILLIONS. A Play in Three Acts. 5s. net

MOURNING BECOMES ELECTRA. A Trilogy. Homecoming.

The Hunted. The Haunted.

ALPHABETICAL INDEX TO TITLES

{In this index , volumes in both ‘The Travellers' Library* and
‘The Life and Letters Series' are included, as well as volumes in
the ‘Collected Works!)

PAGE

Adam and Eve and Pinch Me 14
Adam’s Breed 37

Adventures of Ralph Rashleigh 3
Adventures of a Wanderer, The 30
All God’s Chillun Got Wings 38
Alps and Sanctuaries 4

America Comes of Age 7

Angels and Ministers 21

Armour Wherein He Trusted 37
Art of Thinking, The 16

Art of Thought, The 7

Aspects of Science 33

Autobiography of a Super
Tramp, The 4 14

Autobiography of Mark

Rutherford, The 32

Babbitt 37

Bazaar, The 9

Beadle, The 33

Beethoven 7

Between Earth and Sky 10

Beyond the Horizon 38

Black Dog, The 14

Black Laughter 31

Black Soul, The 29

Black Sparta 27

Blake, William 34

Blue Water 20

Book of Food, A 7

Books and Authors 24

Broken Earth 21

BrontS Sisters, The 4

Byron, Selections from 27

Candles and Crinolines 28

PAGE

Can Such Things Be? n

Captain Margaret 25

Captives of Tipu 23

Casuarina Tree, The 26

Catherine the Great 2

Cattle Thief 3

Cavalleria Rusticana 35

Cherry Orchard, The 34

Christina Alberta’s Father 36

Clorinda Walks in Heaven 14

Cloud Cuckoo Land 27

Combed Out 35

Condemned to Devil’s Island 7

Confessions of a Young Man 28

Conquered, The 27

Contemporaries of Marco Polo 22

Conversation with an Angel, A 2
Cotswold Village, A 18

Country of the Pointed Firs,
The 21

Craft of Fiction, The 24

Cricket Match, The 15

Crimson Handkerchief, The 18

Days in the Sun 13

Dead Towns and Living Men 8

December the Fourteenth 26

Deliverance, The 32

Discoveries 29

Diversions in Sicily 22

Dodsworth 37

Dog and Duck 25

Dream, The 36

Dubliners 22

Earlham 5 8c 24

39

PAGE

Eighteen Nineties, The 5

Elmer Gantry 37

Emperor Jones, The 38

End of a Chapter, The 24

England’s Green and Pleasant
Land 9

Enormous Room, The 4

Erewhon 3 & 12

Erewhon Revisited 12

Evolution of an Intellectual,
The 29

Farmer’s Life, A 11

Fathers and Children 34

Fishmonger’s Fiddle 14

Five Deans 4

Flowers and Elephants 33

Flying Bo’sun, The 25

Flying Draper, The 17

France and the French 21

Free Air 37

Friday Nights 18

Friends in Solitude 36

Genius and Character 6

Gipsy of the Horn, A 13

Gleanings in Buddha-Fields 19
Glimpses of Unfamiliar Japan

19 6? 20

Golden Arrow, The 37

Gone to Earth 37

Good-bye to all That 5

Great God Brown, The 38

Grecian Italy 17

Grub Street Nights Entertain¬
ments, The 33

Hairy Ape, The 38

Half a Minute’s Silence xo

Horses and Men 9

House in Dormer Forest, The 37
House with the Green Shutters,
The 16

PAGE

In Defence of Women 26

Infamous John Friend, The x8

Informer, The 29

Intimate Journals of Paul
Gaugin, The 18

Italian Backgrounds 36

Job, The 37

John Knox 6

Journey to the Western Islands,

A 22

Kai Lung’s Golden Hours 12

King of Schnorrers, The 36

Kokoro 20

Kwaidan 20

Later Days 15

Lazarus Laughed 38

Literary Pilgrim in England, A 34
Little Karoo, The 33

Liv 14

Liza of Lambeth 25

London Perambulator, The 3

Madame Bovary 17

Main Street 37

Marius the Epicurean 30

Martin Arrowsmith 37

Martyrdom of Man, The 31

Mastro-Don Gesualdo 3 5

Marco Millions 38

Memoirs of a Slave-Trader 13

Memoirs of Sergeant Bour¬
gogne 11

Men, Books and Birds 21

Men Without Women 20

Microbe Hunters, The 4

Military Memoirs (1672-1713) 13
Mind in the Making, The 32

Mind of Leonardo da Vinci,
The 6

Miss Mole 38

Misses Mallett, The 38

40

PAGE

Monk and the Hangman’s
Daughter, The n

Montagu, Travel Letters of
Lady Mary Wortley 28

Moon and Sixpence, The 26

Moon of the Caribbees,The 30 & 38
Moor Fires 38

More Obiter Dicta 11

Morocco, In 36

Mother, The 15

Mother India 6

Mourning becomes Electra 38

Napoleon : The Last Phase 32

Nigerian Days 19

Note Books of SamuelButler,The 12
Old Wives’ Tale,. The 10

On a Chinese Screen 26

On the Eve 35

Orient Express 16

Oriental Encounters 30

Our Mr. Wrenn 37

Out of the East 20

Passages from Arabia Deserta 5

Peter Ibbetson 16

Plays, Acting and Music 34

Pleasures of Architecture, The 8

Pocket-Book of Poems and
Songs for the Open Air, The 34

Poet’s Pilgrimage, A 15

Poor Man’s House, A 31

Poor Women 21

Porgy 20

Portrait of the Artist, A 22

Precious Bane 37

Privateer’s Voyage Round the
World, A 33

Private in the Guards, A 19

‘Racundra’s’ First Cruise 31

Rare Adventures and Painefull
Peregrinations 24

PAGE

Renaissance, The 30

Revolution in Tanner's Lane,
The 32

Roman Pictures 24

Safety Pins 28

Sailing Across Europe 17

Seagull, The 34

Selected Essays. Samuel Butler 13
Selected Essays. Sir Edmund
Gosse 18 19

Selected Prejudices 26

Selections from Swift 14

Series of Uncommon Events, A 32
Seven for a Secret 37

Shades of Eton 6

Shipmates 31

Short Talks with the Dead 10

Side Shows 10

Smoke 35

Spring of Joy 37

Spring Sowing 29

Stalky’s Reminiscences 16

Stories (from De Maupassant) 15
Story of the Gypsies, The 3

Story of the Jews, The 12

Strange Interlude 38

Strange Necessity, The 8

Tennyson , 17

Thomas Carlyle 19

Thunder on the Left 28

Trader Horn 5

Trail of the Hawk, The 37

Traveller’s Joy 35

Travels of Marco Polo, The ^8 23
Twenty-Five 29

Twilight in Italy 23

Two Plays (Tchekoff) 34

Two Sisters, The 10

Unlit Lamp, The 37

Vicar’s Daughter, The 38

PAGE

Viennese Medley 30

Wallet of Kai Lung, The 1 1

Wanderings and Excursions 25

Waters of Africa, The 5

Way of all Flesh, The 13

Wayfaring 27

When the Bough Breaks 27

Where the Blue Begins 28

PAGE

While the Billy Boils 23

White Ship, The 22

Wide Seas and Many Lands 25

William 38

World’s Back Doors, The 29

Wreck of the Medusa, The 23

Wuthering Heights 12

Yonder 38

4*

THE LIFE AND LETTERS SERIES

NUMERICAL INDEX TO TITLES

1. AMERICA COMES OF AGE. Andr6 Siegfried

2. THE ENORMOUS room. E. E. Cummings

3. MICROBE HUNTERS. Paul de Kruif

4. trader horn. A. Aloysius Horn

5. mother INDIA. Katherine Mayo

6. the autobiography of a super-tramp. W. H. Davies

7. earlham. Percy Lubbock

8. a book of food. P. Morton Shand

9. GENIUS AND CHARACTER. Emil Ludwig

10. CONDEMNED TO DEVIL’S ISLAND. Blair Niles

11. THE story of THE gypsies. Konrad Bercovici

12. JOHN KNOX. Edwin Muir

13. CATHERINE THE great. Katherine Anthony

14. the pleasures of architecture. C. and A. Williams-Ellis

15. BEETHOVEN. J. W. N. Sullivan

16. erewhon. Samuel Butler

17. THE EIGHTEEN nineties. Holbrook Jackson

18. THE STRANGE necessity. Rebecca West

19. THE BRONTE sisters. Ernest Dimnet

20. THE ADVENTURES of Ralph rashleigh. The late Earl of Birkenhead

21. passages from arabia deserta. Selected by Edward Garnett

22. good-bye to all that. Robert Graves

23. the LONDON perambulator. James Bone

24. THE ART of thought. Graham Wallas

25. ALPS and sanctuaries. Samuel Butler

26. five deans. Sydney Dark

27. A conversation with an angel. Hilaire Belloc

28. the waters of Africa. A. Aloysius Horn

29. DEAD TOWNS AND LIVING MEN. C. L. Woolley

30. shades of eton. Percy Lubbock

31. THE MIND OF Leonardo da vinci. Edward McCurdy

32. cattle thief. Frank Brownlee

43

THE TRAVELLERS’ LIBRARY

NUMERICAL INDEX TO TITLES

x. can such things be? Ambrose Bierce

2. THE BLACK dog. A. E. Coppard

3. THE AUTOBIOGRAPHY OF A SUPER-TRAMP. W. H. Davies

5. THE CRAFT of fiction. Percy Lubbock

6. earlham. Percy Lubbock

7. wide seas and many lands. Arthur Mason

8. selected prejudices. H. L. Mencken

9. the mind in the making. James Harvey Robinson

10. the way of all flesh. Samuel Butler

11. EREWHON. Samuel Butler

12. EREWHON revisited. Samuel Butler

13. ADAM AND EVE AND PINCH ME. A. E. Coppard

14. Dubliners. James Joyce

15. dog AND DUCK. Arthur Machen

16. kai lung’s golden hours. Ernest Bramah

17. angels and ministers, and other plays. Laurence Housman

18. the wallet of kai lung. Ernest Bramah

19. TWILIGHT IN ITALY. D. H. Lawrence

20. THE DREAM. H. G. Wells

21. ROMAN PICTURES. Percy Lubbock

22. clorinda WALKS in heaven. A. E. Coppard
2ji MARIUS THE epicurean. Walter Pater

24. the white SHIP. Aino Kallas
2 6. SPRING SOWING. Liam O’Flaherty

28. the country of the pointed firs. Sarah Ome Jewett

29. Grecian ITALY. Henry James Forman

30. wuthering heights. Emily Bronte

31. on a Chinese screen. W. Somerset Maugham

32. a farmer’s life. George Bourne

33. two plays: The Cherry Orchard and The Sea Gull. Anton Tchekoff

34. the monk and the hangman’s daughter. Adolphe Danziger de Castro

and Ambrose Bierce

35. captain Margaret. John Masefield

36. blue water. Arthur Sturges Hildebrand

37. stories. De Maupassant

38. WHILE THE billy boils. First Series. Henry Lawson

39. while the billy boils. Second Series. Henry Lawson

40. a series of uncommon events. Captain George Roberts

41. in morocco. Edith Wharton

42. gleanings in buddha-fields. Lafcadio Hearn

43. out of the east. Lafcadio Hearn

44

44- kwaidan. Lafcadio Hearn

45. the conquered. Naomi Mitchison

46. when the bough breaks. Naomi Mitchison

47. the flying bo’sun. Arthur Mason

48. later days. W. H. Davies

50. in DEFENCE of women. H. L. Mencken

51. VIENNESE MEDLEY. Edith O’Shaughnessy

53. THE INFAMOUS JOHN friend. Mrs. R. S. Garnett

54. HORSES AND MEN. Sherwood Anderson

55. selected essays. Samuel Butler

56. a poet’s pilgrimage. W. H. Davies.

57. glimpses of unfamiliar japan. First Series. Lafcadio Hearn

58. glimpses of unfamiliar japan. Second Series. Lafcadio Hearn

59. TRAVELS OF MARCO POLO

60. selected prejudices. H. L. Mencken

61. THE world’s back DOORS. Max Murray

62. the EVOLUTION of an intellectual. J. Middleton Murry

63. the renaissance. Walter Pater

64. the adventures of A wanderer. Sydney Walter Powell

65. ‘racundra’s’ first cruise. Arthur Ransome

66. the martyrdom of man. Winwood Reade

67. THE AUTOBIOGRAPHY OF MARK RUTHERFORD

68 . THE deliverance. Mark Rutherford

69. THE REVOLUTION IN tanner’s lane. Mark Rutherford

70. aspects of science. First Series. J. W. N. Sullivan

71. MASTRO-DON gesualdo. Giovanni Verga

73. selected essays. First Series. Sir Edmund Gosse, C.B.

74. where the BLUE begins. Christopher Morley

75. THE NOTE BOOKS of Samuel Butler

76. CONFESSIONS OF A YOUNG man. George Moore

77. THE bazaar. Martin Armstrong

78. side SHOWS. J. B. Atkins

79. short talks with the dead. Hilaire Belloc

80. ORIENT express. John dos Passos

81. selected essays. Second Series. Sir Edmund Gosse, C.B.

82. on the eve. I van Turgenev

83. fathers and children. Ivan Turgenev

84. smoke. Ivan Turgenev

85. porgy. du Bose Heyward

86. France and the french. Sisley Huddleston

87. liv. Kathleen Coyle

88. cloud cuckoo land. Naomi Mitchison

89. A PRIVATE IN the guards. Stephen Graham

90. thunder on the left. Christopher Morley

91. THE MOON and sixpence. W. Somerset Maugham

92. the casuarina tree. W. Somerset Maugham

45

93- A poor man’s house. Stephen Reynolds

94. william blake. Arthur Symons

95. a literary pilgrim in ENGLAND. Edward Thomas

96. NAPOLEON: the last phase. The Earl of Rosebery

97. the pocket book of poems and songs for the open air. Edward

Thomas

98. safety pins. Christopher Morley

99. the black soul. Liam O’Flaherty

XOO. CHRISTINA ALBERTA’S FATHER. H. G. Wells

101. THE INTIMATE JOURNALS OF PAUL GAUGIN

102. THE GRUB STREET NIGHTS ENTERTAINMENTS. J. C. Squire

103. ORIENTAL ENCOUNTERS. Marmaduke Pickthall

104. THE LITTLE karoo. Pauline Smith

105. THE MOTHER. Grazia Deledda

106. traveller’s joy. W. G. Waters

107. SHIPMATES. Felix Riesenberg

108. THE CRICKET match. Hugh de Selincourt

109. RARE ADVENTURES AND PAINEFULL PEREGRINATIONS (1582-1645).

William Lithgow

no. THE END of a chapter. Shane Leslie
hi. sailing across Europe. Negley Farson

112. men, BOOKS and birds. W. H. Hudson

113. plays, acting and music. Arthur Symons

114. ITALIAN backgrounds. Edith Wharton

115. FLOWERS AND elephants. Constance Sitwell

116. the MOON of the caribbees. Eugene O’Neill

117. between earth and sky. Konrad Bercovici

118. the house with the green shutters. George Douglas

119. Friday nights. Edward Garnett

120. diversions in SICILY. Henry Festing Jones

121. DAYS IN THE SUN. Neville Cardus

122. combed out. F. A. Voigt

123. CONTEMPORARIES OF MARCO POLO

124. TENNYSON. Hugh I’Anson Fausset

125. captives of tipu: survivors’ narratives

126. memoirs of a slave-trader. Theodore Canot

127. black laughter. Llewelyn Powys

128. the informer. Liam O’Flaherty

129. the beadle. Pauline Smith

130. fishmonger’s fiddle. A. E. Coppard

131. friends in solitude. Percy Withers

132. wanderings and excursions. The Rt. Hon. Ramsay MacDonald

133. wayfaring. Alice Meynell

134. military memoirs (1672-1713). Captain George Carleton

135. books and authors. Robert Lynd

136. A GIPSY of the HORN. Rex Clements

46

137- the crimson handkershief. Comte de Gobineau
138. a cotswold village. J. Arthur Gibbs

140. more obiter dicta. Augustine Birrell

141. liza of lambeth. W. Somerset Maugham

142. A privateer’s voyage round the world. Capt. George Shelvocke

143. LETTERS OF LADY MARY WORTLEY MONTAGU

144. MADAME BOVARY. Gustave Flaubert

145. stalky’s reminiscences. Major-General L. C. Dunsterville

146. THE STORY of the jews. Lewis Browne

147. twenty-five. Beverley Nichols

148. MEMOIRS OF SERGEANT BOURGOGNE

149. CANDLES AND CRINOLINES. D. L. Murray

151. NIGERIAN DAYS. A. C. G. Hastings

152. discoveries. J. Middleton Murry

153. HALF a minute’s SILENCE. Maurice Baring

154. selections FROM byron. Hamish Miles

155. A portrait OF THE artist. James Joyce

156. DECEMBER the fourteenth. Dmitri Merezhkovsky

157. THOMAS CARLYLE. Mary Agnes Hamilton

158. BLACK SPARTA. Naomi Mitchison

159. MEN WITHOUT WOMEN. Ernest Hemingway

160. THE TWO SISTERS. H. E. Bates

161. ENGLAND’S GREEN AND PLEASANT LAND. Anonymous

162. A JOURNEY TO THE WESTERN ISLANDS OF SCOTLAND. Samuel Johnson

163. THE WRECK of the ‘medusa.’ A. W. Lawrence

164. THE KING of schnorrers. Israel Zangwill

165. THE FLYING draper. Ronald Fraser

166 & 167. THE old wives’ tale. Arnold Bennett

168. POOR WOMEN. Norah Hoult

169. PETER ibbetson. George du Maurier

170. the art of thinking. Ernest Dimnet

171. selections from swift. Charles Davies

172. kokoro. Lafcadio Hearn

173. cavalleria rusticana. Giovanni Verga

174. broken earth. Maurice Hindus

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LONDON

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